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TABLEAUX 



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PHILADELPHIA 

^Fhe. PeHH IhablishiHg C©mp>anY 

1889 






Entered according to Act of Congress, in the year 1889, by 

THE PENN PUBLISHING COMPANY 
In the office of the Librarian of Congress, at Washington 



Fbanklim Printing Company. 
516-518 Minor Street 

Philadelphia 



CONTENTS'. 



SECTION I. 

PAGE 

Traveling Magician ". .". T - . . ;'". . . . 7 

Puritans on the Way to Church, 7 

Sorting the Mail, 8 

Open Your Mouth and Shut Your Eyes, 8 

Off to London, 8 

St. Valentine's Day in a Country Village, 9 

Penance, , . 10 

A Frolic at the Old Homestead, 10 

Held by a Thread, 11 

Sweeping Women of Munich, . . . 11 

A Matter of Opinion, 11 

Too Bad to Mend 12 

An Old Man's Darling, 12 

A Young Man's Slave, 12 

Hallowe'en, 13 

Rock of Ages, 13 

What are the Wild Waves Saying? 14 

Ho! For the Holidays, 14 

Professional Pride, 15 

A Young Monopolist, 15 

The Little Gleaners, 15 

Crowning the May Queen, 16 

" Stuck," 16 

A Home Picture (in two scenes), 16 

"Dear Grandma,'' 17 

Scenes from the Life of an Office-Boy, 17 

Aren't You Ashamed of Yourself? 18 

The Newsboy 19 

Open Your Mouth, 19 

iii 



IV CONTENTS. 

PAGE 

A Fish Story, 19 

"That's You," 20 

Lost in the City Streets, 20 

The Flight of Time, 20 

Death of Minnehaha, „ 21 

Naomi and Her Daughters-in-Law, 22 

Joan of Arc at the Stake, 23 

Winter in the Lap of Spring, 23 

The Flower (Flour) Girl 24 

Rogers' Groups, '. 24 

Scripture Scenes, 24 

Sam Weller's Valentine, 25 

Farmer's Kitchen Before Thanksgiving, 25 

Scripture Tableaux, 25 

Woman's Rights, 26 

Gipsy Camp, 26 

Signing the Pledge, 26 

Hallowed Be Thy Name, 27 

The Three Fishers, 27 

Anne Boleyn's Rejection of Henry VIII's First Gift 28 

Discovering a, Leak, 29 

The Village Post-Office, 29 

The Doubtful Bank Note,* 31 

The Heart's Resolve, 32 

The Union Forever, 33 

The Artist's Dream, 34 

Columbus before Ferdinand and Isabella, « 34 

A Pleasant Acquaintance, 35 

The Stolen Bird's Nest, 35 

Innocence, 36 

The Drunkard's Home, 36 

The Village Choir, 37 

Reveries of a Bachelor, 37 

The Mother of the Gracchi, 37 

Two Blind Beggars, 38 

Snow-Birds, 30 

Flower Faces, 39 

Undine, 40 

Ophelia 41 

A Monk in His Cell, 41 

A Nun at Her Devotions, 42 

The Harvesters, -42 

There's no Rose Without a Thorn, 44 

Sent by Express r 44 

Asking a Blessing, 45 

The Eclipse of the Sun (Son), 45 



CONTENTS. V 

PAGE 

At the Stake (Steak), 46 

In Disgrace, 46 

Birthdays, 46 

Shakespeare's Seven Ages of Man, 48 

The Tempted, 49 

The Soldier's Departure, 50 

The Soldier's Return, 50 

Great Expectations, . . . . • 51 

Comin' Through the Rye, . . . . 51 

Listeners Hear no Good of Themselves, 51 

Spirit of '76, 52 

Playing Grown-Up, 54 

Cinderella's Slipper, 54 

Scripture Scenes, 55 

Washington, 59 

A Hard Shave, 60 

Watering the Horses, 60 

Carrying the Clothes to the Wash, 61 

Maud Muller, , 61 



SKCTIO** II. 

Selections from Tennyson's " May Queen," 62 

The Gipsy Fortune-Teller, 67 

Little Gretchen, 71 

Lifting the Veil 76 

The Beggar-Maid and King Cophetua, 80 

The Parson's Fee ; or, the Bag of Beans, 81 

Discontentment, 84 

The Dude 84 

Tableaux from Hiawatha, with Readings, 86 

The Angel's Whisper, 88 

* Song of the Shirt," 89 

The Heroism of Elizabeth Zane, 90 

••The Cotter's Saturday Night," 92 

In School Days, 95 

Where are You Going? 9Q 

Bluebeard, , , , , 97 



SECTION III. 

The Yarn of the Nancy Bell, 104 

Bo-Beep's Party, 109 

George Washington's Little Hatchet, Ill 



VI CONTENTS. 

SECTION IV. 

PAGE 

Statuary Vivants, 113 

Devotion, 118 

The Three Graces, 118 

Diana, 118 

SECTION V. 

Backward, 119 

Mendicant, 124 

Incompatibility, 131 

Pungent,. 136 

SECTION VI. 

Playful, 139 

Sausage, 139 

Misfit 141 

Attendance, 142 

SECTION VII. 

Searching for Happiness, 144 

Christmas Eve, 145 



TABLEAUX. 



SECTION I. 



TRAVELING MAGICIAN. 

Behind a small table stands a magician in the act of 
drawing a rabbit by the ears from a tall hat. A man 
sits in front of table at the left side with a little boy on 
his knee, looking up at the magician in amused wonder. 
At the right side of the table sits a young girl asleep, 
her head thrown back and resting on the table. Her 
right hand holds a tambourine. Her attitude shows 
great weariness. 

PURITANS ON THE WAY TO CHURCH. * 

CHARACTERS. 
Young Man and Young Woman. 

The young man is dressed in short, full trousers 
gathered in at the knee, dark hose, heavy low- tie shoes, 
a loose frock coat, belted at the waist and buttoned 
closely to the throat, a deep white collar turned over 
and reaching almost to the shoulders, and a high- 
crowned, wide-brimmed straw hat with band and buckle. 
He carries a gun upon his right shoulder, which he 
steadies with his right hand. 

7 



8 TABLEAUX. 

The young woman wears a plain dark dress with 
shoulder cape reaching to the waist, a long white apron, 
deep white cuffs, and plain round hood tied under the 
chin with long, narrow strings. Her hands, lightly 
clasped in front of her, carry a Bible. 

The couple are walking side by side, and on their 
faces is a calm, earnest expression. 

SORTING THE MAIL. 

The figure of an old man is bending over a mail-bag 
from which he has drawn a letter which he is peering at 
over his spectacles as he holds it up before him. At his 
right hand stands a young girl looking intently at a 
letter in her hand. 



OPEN YOUR MOUTH AND SHUT YOUR EYES. 

SCENE I. 

A youth is holding two or three cherries by their 
stems before the eyes of a young girl who is looking up 
at him expectantly. 

SCENE If. 

The young girl has her eyes shut and her mouth open. 
The youth has placed his finger in her mouth, and is 
about to drop the cherries into his own open mouth. 



OFF TO LONDON. 

Five chairs are arranged in a row. On the first chair 
is a white woolly dog or cat. On the second sits a 
small boy. His feet are thrust through the rounds of 
the back of first chair, and rest upon its seat. In his 
left hand he holds a trumpet, in his right he holds 
a strip of muslin as horse-lines, which crosses his left 



TABLEAUX. t> 

knee and is carried along the left side of the line of 
chairs to the last one, to which it is tied. He has on a 
three-cornered soldier-cap with plumes at its point. On 
the third chair, sitting siclewise, feet over the side and 
resting on the rounds of the chair, is a little girl with a 
doll in her lap. On the fourth chair are several dolls 
in various postures. The fifth chair is placed with its 
back to the back of the fourth. Upon it stands a child 
whose left hand clasps the top of the chair. She has a 
flat hat on. Her right hand holds a toy balloon, which 
should be wired or tied to a stick so that it will remain 
motionless. 



ST. VALENTINE'S DAY IN A COUNTRY 
VILLAGE. 

Two young girls in street costume standing together 
reading a valentine which they have just received. A 
boy of fifteen stands behind them peeping over their 
shoulders with a roguish look upon his face. To the left 
stands a young man dressed as a postman with bag hung 
from his shoulder and a package of letters in his hand. 
Directly in front of him stand two girls with an expect- 
ant look upon their faces and hands partly outstretched. 
The postman has drawn a missive from the package and 
is intently reading the superscription upon it. In 
front of this group and to the front of the stage 
stands a little girl with a disappointed look holding in 
her hand a comic valentine which she has just taken 
from its wrapper. To her right and at a short distance 
from her are two small boys watching her with their 
hands over their mouths, evidently trying to suppress 
their laughter. 



10 TABLEAUX. 

PENANCE. 

SCENE. 
A very plainly furnished room. 

CHARACTERS. 
An Old Woman.— A Boy about twelve years old.— A Little Girl. 

The boy, dressed in common, every-day garb, is seated 
upon a wooden chair, his feet twisted upon the rounds. 
The old woman stands behind the chair. She is dressed 
in calico frock, gingham apron, thick white muslin cap 
with broad frill, and white muslin kerchief pinned across 
her bosom. She has scissors and a comb upon the boy's 
head as if in the act of cutting his hair. He holds one 
of his hands to his head as if afraid of being hurt. 
The little girl, holding some childish toy, stands near 
looking at the boy with intent interest. A wooden stool 
beside the boy's chair holds a tin wash-basin, a large 
piece of soap, and a hair-brash. The old woman's ex- 
pression is intent and determined, the boy's is unhappy 
and restless. 



A FROLIC AT THE OLD HOMESTEAD. 

An old lady, wearing cap and spectacles, sits in an 
easy-chair in the centre of the stage. She has her knit- 
ting in her hands. A young man, blindfolded, stands 
at the right side of the chair, and is reaching across the 
old lady in the attempt to catch a young lady who is 
on the left side of the chair. She is holding her dress 
back with both hands, so that he may not touch it. 
Her head is bent a little forward, and she is biting her 
lower lip. A second young man stands behind the 
chair. He has his left hand on the young girl's 



TABLEAUX. 11 

shoulder. In his right hand is a handkerchief with 
which he is touching the head of the blindfolded young 
man. 



HELD BY A THREAD. 

A man in his shirt sleeves is seated in a chair, his 
hands resting, one on each knee, his head thrown a little 
back. A woman stands at his left side, in the act of 
sewing a button on the collar-band of his shirt. Her 
left hand is on the shirt-band, through which the thread 
has been passed; her right hand holds the threaded 
needle drawn out to the full length of the thread. 



SWEEPING WOMEN OF MUNICH. 

Two women in German peasant costume: short 
dresses which are tucked up around waists, showing pet- 
ticoats. Small shawls around shoulders, crossed in front 
and tied at the back. Men's boots or shoes. One fig- 
ure rests her left hand on her broom. With her right 
she is extending an open snuff-box to her companion, 
who is about taking a pinch. The latter figure has 
her broom under her right arm. 



A MATTER OF OPINION. 

An invalid lady, wearing a wrapper, is reclining in a 
large easy-chair. One foot is resting on a foot-stool. 
A physician, wearing professional suit of black, stands at 
her left side, feeling the pulse of her left wrist, which he 
holds in his hand. At the right side of the lady stands 
a small table on which is a plate of fruit. Just behind 
this table stands a second physician. He appears to 
have just drawn on a light overcoat, which he is button- 



12 TABLE VUX. 

ing. He has an umbrella under his left arm. Physi- 
cian No. 1 has a bland, satisfied expression as he looks 
up at the other, whose face is unpleasantly obstinate and 
dictatorial. 



TOO BAD TO MEND. 

An old cobbler sits at his bench. He is intently 
gazing at a shoe which he holds in his left hand. His 
right hand is extended, palm upward, toward a young 
girl who has brought him the shoe. His mouth is 
pursed up in a disdainful manner. The young girl 
wears a shabby, short dress. She has a shawl partly 
around her shoulders. Her gaze is mournfully fixed 
upon the cobbler, who has evidently just given his ver- 
dict of " Too bad to mend." 



AN OLD MAN'S DARLING. 

An old gray-haired man is seated in a parlor, with an 
open jewel-case in his hand. He has lifted a sparkling 
bracelet from the case and is offering it to his young 
wife. The wife, elegantly attired in evening costume, 
stands near the old man, but with averted face and a 
weary look of scorn upon it. She has one hand slightly 
extended toward him. 



A YOUNG MAN'S SLAVE. 

A young man, wearing dressing-gown and slippers, 
rests at ease in a reclining-chair, his feet elevated and 
crossed, resting upon another chair. He is holding a 
newspaper in one hand. His other hand is toying with 
a plate of fruit, placed on a small table beside his chair. 
His young wife, wearing a large working-apron, stands 



TABLEAUX. 13 

near, with a man's boot drawn over her left hand. In 
her right hand she holds a blacking-brush, which just 
touches the boot, as if in the act of polishing it. 



HALLOWE'EN. 

A young girl is standing before a mirror which stands 
upon a table. There is also a pitcher on the table. 
The girl wears a short gown, loose sack, and slippers. 
In her right hand she holds a candlestick with a lighted 
candle in it. She is looking into the mirror with an 
earnest expression. Her left hand is raised as in the 
attitude of listening. Back of her and to her left 
stands a man in sailor garb, with both hands raised as 
if walking on tiptoe. He is trying to peep over her 
shoulder that she may see his face in the mirror. (Dur- 
ing the showing of this tableau, a bell, hidden from 
view, may be struck twelve times to represent the mid- 
night hour.) 



ROCK OF AGES. 

A box about two feet long, one foot wide, and one 
foot high is used as the base for a cross. The cross, 
which can be nailed to the back of the box, is about 
four feet high, and is made simply of two pieces of 
wood. If the cross-piece is placed slanting it is more 
picturesque. The cross is painted a pale-gray color, or 
is covered with muslin of that color. A young girl, 
dressed in white, of a filmy texture, with loose sleeves 
which fall back disclosing her bare arms, is seated on 
the front of the box, resting one knee upon the floor. 
Her back rests against the upright board of the cross, 
and her uplifted arms are twined about its arms. Her 



14 TABLEAUX. ' 

drapery must entirely conceal the box. Her hair 
should be long and unconfined, falling about her as a 
veil. 

Accompanying the tableau concealed persons should 
sing: 

" Rock of Ages, cleft for me, 

Let me hide myself in Thee ; 

Nothing in my hands I bring, 

Simply to Thy cross I cling. 

Rock of Ages cleft for me, 

Let me hide myself in Thee." 



WHAT ARE THE WILD WAVES SAYING? 

This scene represents a sitting-room, containing a 
round table, on which two or three large shells are 
lying. By the table, with one arm resting carelessly on 
it, is a little girl. At her side stands a boy, holding 
with both hands a large shell to her ear. 



HO ! FOR THE HOLIDAYS ! 

Five children are seen. No. 1 faces the audience. 
The others stand sidewise (at an angle of 45 degrees, 
with front of stage, and about a yard apart) in a row, 
as though marching. All wear hats. No. 1 carries in 
her right hand an open umbrella ; her left hand holds a 
watering-pot. No. 2 carries a doll in her right hand, 
and a satchel on her left arm. No. 3 grasps with both 
hands a hoe and a rake, which he holds over his right 
shoulder. No. 4 carries a base-ball in his left hand and 
a bat under his right arm. No. 5, dressed in a sailor 
suit, has his left hand in his pocket, and in his right 
hand he carries a little ship. 



TABLEAUX. 15 



PROFESSIONAL PKIDE. 

A boy dressed in very shabby clothes, torn stockings, 
and old shoes is seated on a shoe-box. On the floor, 
beside him, several boots and shoes are lying. His left 
arm is extended before him, his left hand thrust into a 
shoe, which is highly polished. His right hand, hang- 
ing at his side, grasps a blacking-brush. He is regard- 
ing his work with great pride, as is shown by the satis- 
fied expression on his face. 



A YOUNG MONOPOLIST. 

Three boys are seated on a bench. The middle boy's 
hat is lying on the floor. He is holding a large piece 
of cake to his mouth. The other boys have their faces 
turned toward him and are wistfully watching him. 
They both wear caps. One holds the string of a toy 
engine, which is standing on the floor. The other has 
his hands folded across his lap. They all are dressed 
rather shabbily. 



THE LITTLE GLEANERS. 

This tableau represents a harvest-field. Straw is 
scattered about the stage. A child's express wagon is 
laden with straw, and upon it is perched a little child. 
Two boys hold the tongue of the wagon as if pulling it. 
Several other children of various sizes are grouped 
about. One holds a rake, as in the act of raking. 
Some are seated upon a heap of straw, and appear to 
be playing merrily. One has filled his hat with straw, 
and is holding it up with both hands. A lady stands at 



16 TABLEAUX. 

one side (behind a fence and leaning upon it, if a fence 
can be arranged). She shades her eyes with one hand, 
as she watches the children at their play. 



CROWNING THE MAY QUEEN. 

This tableau shows a bright-looking room, in which 
pots of flowering plants form a conspicuous feature. In 
the foreground is seen a boy of about twelve, who is 
holding a flower-pot upside down upon the head of a 
little girl. From under the flower-pot vines and flowers 
are hanging about her smiling face. In her right hand, 
which is hanging carelessly at her side, she holds a doll 
by its arm. 



" STUCK." 

A large boy is seated upon a box. One foot rests 
upon some books, the other upon the floor. He is in 
his shirt sleeves, his coat lying on the floor beside him. 
In his left hand he holds a slate, which rests upon his 
knee. In his right hand is a long pencil, which he is 
holding to his lips. His eyes are upturned, and a look 
of puzzled thought is on his face. 



A HOME PICTURE (IN TWO SCENES). 

SCENE I. 

An old man with white hair and whiskers, sitting in 
a large easy-chair, smoking a pipe. He wears a vest 
but no coat, and his shirt sleeves are turned back from 
his wrists. A little girl is sitting on his knee. She has 
both arms extended, hands half closed, with palms toward 
each other, as if in the act of catching flies. Near by 



TABLEAUX. 17 

is a table with white cloth and dishes and the remains 
of a meal upon it. An elderly woman is standing by 
the table, apparently in the act of " piling up " the 
dishes. 

SCENE II, 

Same room. Image of a dog on the floor, the old 
lady sitting by a spinning-wheel, with her hand upon 
the wheel as if spinning. A clock on the mantel-piece. 
The old man and child both asleep in the arm-chair, the 
child's head pillowed on his shoulder. 



" DEAR GRANDMA." 

An old lady is seated in a big arm-chair. By her 
side is a table on which a large cup and saucer are 
standing. Half sitting, half lying on her lap, with 
her feet touching the floor, and with her face toward the 
audience, is a little girL Her arms are raised above her 
head around grandma's neck, and her eyes are raised 
lovingly to grandma's face, which is looking down into 
her own. 



SCENES FROM THE LIFE OF AN OFFICE- 

BOY. 

ANNOUNCEMENT I. 

The "bright, active boy" who comes for an hour 
each Saturday to clear up the studio while the artist 
goes out sketching. 

SCENE I. 

A room with large picture standing on an easel, 
other pictures scattered about, a bust cr two on table 
or floor. A boy of twelve or fourteen years of 



18 TABLEAUX. 

age, rather shabbily dressed, reclines in the artist's easy- 
chair, with his eyes closed. One arm hangs carelessly 
over the arm of the chair, and one leg is crossed over 
the other in an easy, comfortable position. 

ANNOUNCEMENT II. 

The artist's boy obtains permission to go to his 
grandmother's funeral. 

SCENE II. 

A boy in shirt sleeves, and wearing large straw hat is 
enjoying himself with his fishing-rod and line. The 
look of intent interest upon his face makes it evident 
that he has a bite. 

ANNOUNCEMENT III. 

What he caught. 

SCENE III. 

The artist has appeared on the scene, and is holding 
the boy by the ear. The rod has fallen from the boy's 
hand, and he has a look of comic despair upon his face. 



AKEN'T YOU ASHAMED OF YOURSELF? 

CHARACTERS. 

A Boy about ten years of age,— Another several years older, and a Girl 
of twelve. 

The smaller boy stands at the left ; his hat is lying 
upon the ground near by. He has his right fist to his 
eye and his face is contorted with weeping. The larger 
boy stands at the right ; he carries a box by its strap in 
his right hand. His left fist is clinched, and his angry 
face shows that he has been interrupted before he has 
had his fight out with the younger lad. The girl, in 
street costume, coat, hat, and mujf, stands between the 



TABLEAUX. 19 

two boys, her back toward the smaller, her face up- 
turned to the larger, and with the forefinger of her 
right hand upraised she appears to be taking him to 
task for his ill-conduct. 



THE NEWSBOY. 

A street. A boy, shabbily clad, with a bundle of 
newspapers under his arm. A man, with hat on his 
head and umbrella under his arm, has just taken a 
paper from the boy, which he holds loosely, while from 
an open pocket-book he appears to be extracting a coin 
for payment, the boy standing with outstretched hand 
to receive it. 



OPEN YOUR MOUTH. 

Upon a pedestal or high stand is placed a marble 
bust. A large portfolio leans against the pedestal, and 
a footstool stands beside it. Near by is a chair on 
which is a big bowl. On the footstool stands a little 
child on tiptoe, with a large spoon held up to the mouth 
of the image. The child wears a long bib pinned loosely 
about its neck. 



A FISH STORY. 

Two young men, returning from a fishing expedition, 
carrying their rods over their shoulders, meet two or 
three friends and stop to chat. 

Our tableau shows one of the sportsmen with hands 
extended at a distance apart of about two feet, while 
his companion with arms hanging by his side, carries a 
small string of diminutive fish. 



20 TABLEAUX. 



"THAT'S YOU." 

A ragged little urchin, carrying a bootblack's box on 
his left arm, holds in his right hand a chalk crayon, 
which is touching the finishing point of a crude carica- 
ture drawing of a human being. The drawing is shown 
upon a large slate or blackboard. The boy's face is 
fully turned toward the audience, and his lips are 
curved in a merry smile. 



LOST IN THE CITY STREETS. 

A man in policeman's uniform is holding by the hand 
a little child of three or four years of age in out-door 
garb, who is crying and rubbing her eyes. A newsboy 
with papers under his arm, a nice-looking old lady, a 
couple of finely-dressed young ladies, a man trundling 
a push cart, a few business men, an old man carrying 
an umbrella, etc., etc., are on the street, some going up 
and some down. Nearly all of these are looking with 
interested faces at the little lost one. 



THE FLIGHT OF TIME. 

ANNOUNCEMENT I. 

Uncle Theophilus Phipps suddenly recollects " those 
four youngsters of Jack's," for whom he has done noth- 
ing for some Christmases past. Happy thought ! He 
will send them each an appropriate present. 

SCENE I. 

Uncle Theophilus in dressing-gown and slippers. One 
hand is slightly extended, the other is in his pantaloon's 
Docket, as if feeling for his pocket-book. 



TABLEAUX. 21 

DEATH OF MINNEHAHA. 

In the centre of the stage place a wigwam or tent, 
made of poles and covered with dark blankets or other 
material suitable for the purpose. Within the tent a 
general air of desolation. An iron pot should be hung 
by a chain, from one of the poles, over the smouldering 
embers of a fire. A few half burnt logs placed upon 
a piece of sheet iron will produce the effect. Be care- 
ful, however, that the sheet iron is entirely covered. 
Upon a pile of skins (buffalo robes or almost any kind 
of carriage robes will answer), half reclining, is the form 
of Minnehaha, as though she had just expired. She 
should be dressed in full Indian costume, or, if more 
convenient, a blanket or other covering may be thrown 
over her. Her long black hair is tossed about and 
streaming to the ground. Crouching by her side is the 
figure of Nokonis. Let the face be painted to represent 
a very withered and wrinkled effect. Her dress must 
be far less rich than that of Minnehaha, and her atti- 
tude expressive of the most abject despair. Let her 
hands clasp her knees as though rocking back and 
forth and moaning. At the entrance of the wigwam 
stands Hiawatha, transfixed with horror, his hands 
stretched toward Minnehaha with an imploring gesture. 
He has just returned from his fruitless hunt, with bow> 
and arrows, snow shoes, and full hunting costume. If 
the stage be large enough the effect of the whole may 
be greatly enhanced by placing a number o£ evergreen 
trees at irregular intervals, and scattering over them a 
quantity of picked cotton, to represent snow. A number 
of broken, leafless boughs should also be scattered over 
the ground, and the stage covered with a white cloth to 
produce the effect of snow. 



22 TABLEAUX. 



NAOMI AND HER DAUGHTERS-IN-LAW. 

CHARACTERS AND COSTUMES. 

Naomi.— Black, loose dress of worsted, extending to the feet; girded! 
at the waist by long, black sash of same, tied low and loosely in front; 
dress loose at neck, with narrow white edging ; flowing head-dress oi 
white, tied under chin with band of white ; hair low on forehead ; san- 
dals on the feet. 

Huth and Orpah.— Long, loose, flowing dress of white muslin, looped at 
the side, showing feet and ankles; sleeves loose, showing arm to elbow. 
A pitcher of antique style suspended by strap from shoulder of each. 
Dresses cut away a little from the neck; feet either bare or sandaled; 
hair braided in the back, and fastened loosely. 

FIRST TABLEAU. 

Naomi stands in the centre of the platform, holding 
the right hand of Orpah, who has placed her left arm 
around the waist of her mother-in-law, and is in the act 
of kissing her farewell. On the left of Naomi, a little 
to the rear, on a low stool, sits Ruth in an attitude of 
grief. 

SECOND TABLEAU. 

Naomi's right hand is placed upon the left arm of 
Ruth, above the elbow ; her left hand is placed around 
the waist of Ruth, who is standing with right arm about 
Naomi's neck, her left hand upon the right shoulder of 
Naomi ; her head reposes upon the left shoulder of Naomi, 
and she looks into the latter's eyes with an expression of 
deep sorrow, while Naomi's face is filled with tenderness 
and pity as she gazes upon the countenance of Ruth. In 
the background, a little to the right, stands Orpah, look- 
ing back disconsolately upon the two. 

Music, if any, should be sad. 

Before presenting the two tableaux, an added in- 
terest would gather about them were the minds of the 



TABLEAUX. 23 

audience refreshed by some one reading aloud the first 
seventeen verses of the 1st Chapter of the Book of 
Ruth. 

JOAN OF ARC AT THE STAKE. 

CHARACTER AND COSTUME. 

MAIDEN.— Loose, white robe, wing-like sleeves, displaying arm; hair 
long, loose, and flowing over shoulders. 

THE TABLEAU. 

A large post in centre of stage, around which are piled 
fagots. Fastened to the post by means of a chain around 
the waist stands the maiden, with eyes cast upward, 
and the whole attitude that of exaltation. A strong 
red light suddenly thrown upon the lower part of the 
picture, from both sides, will produce the effect of ignited 
wood. 

Music, if any, triumphant. 

WINTER IN THE LAP OF SPRING. 

CHARACTERS AND COSTUMES. 

Winter.— Black, loose dress to the feet, ftir cap. white wig, and long white 

beard ; dress flecked with bits of cotton, to represent snow ; face full 

and florid. The part may be taken by a lady. 
Spring.— Trailing, loose dress of white, sleeves draped so as to show 

arm to elbow ; scarf and sash of pink ; long, flowing, yellow hair ; 

sprays of roses and other flowers gracefully fastened oa the dres3 ; 

wreath of flowers on the head. 

THE TABLEAU. 

Spring is seated on a chair, over which may be thrown 
a covering of white or pink, upon which are scattered 
profusely sprays of flowers. She holds at her side a 
golden sceptre. 

Winter is seated in the lap of Spring holding extended 
in his right hand a sceptre of black. 



24 TABLEAUX. 



THE FLOWER (FLOUR) GIRL. 



A HAPPY bright-faced little girl, carrying a basket 
of flowers, herself gaily decked with flowers. 
A cook, with hands, face and dark dress daubed with 
flour. 



ROGERS' GROUPS. 



THE following and similar tableaux may be given 
from Roger's statuettes^ or photographs of the same: 
The Wounded Scout. 
Coming to the Minister. 
The Favorite Pupil. 



SCRIPTURE SCENES. 



BY careful attention to the matters of dress and light, 
very beautiful effects may be produced. Good 
ideas for these representations may often be obtained 
from Scriptural paintings, Bible Dictionaries, etc 

Jephthah's Daughter. 

David with his Harp. 

Selling of Joseph by his Brethren. 

Solomon receiving the Queen of Sheba* 

Jacob in the House of Laban, 



TABLEAUX. 25 



SAM WELLER'S VALENTINE. 



SAM, a rude, reckless sort of fellow, is discovered by 
his father in the act of writing a valentine or love- 
letter to his Mary. A short extract from " Pickwick 
Papers" descriptive of the scene should precede the 
performance. 



FARMER'S KITCHEN BEFORE THANKS- 
GIVING. 



A WOMAN kneading bread, another paring apples, 
another churning butter, a little girl rocking the 
cradle, grandmother knitting, grandfather pointing with 
his cane to a nail upon which a large boy is trying to 
hang up the turkey, a boy with a basket of nuts. 



SCRIPTURE TABLEAUX. 



IN the following Scripture tableaux, read the Bible 
text, and if possible secure the aid of a reliable 
illustrated dictionary or Biblical encyclopedia: 
Esther before King Ahasuerus. 
The Ten Virgins. 
The Prodigal Son. 
Paul before Agrippa. 
Departure of Hagar. 



26 TABLEAUX. 



WOMAN'S EIGHTS. 



A DOMESTIC scene, in which the duties of the 
sexes are reversed. One man should be at the 
wash-tub; another paring potatoes and rocking the 
cradle with his foot. A woman should be reading the 
newspaper leisurely; another with pen over her ear, 
should be poring over some accounts. 



GIPSY CAMP. 



A HALF dozen characters of different ages. Kettle 
suspended from forked sticks over a fire. A Gipsy 
woman telling the fortune of a young maiden, reading 
the secrets from her open palm. The Gipsy man weav- 
ing baskets or mats. 



SIGNING THE PLEDGE. 



SCENE, a drunkard's home. Stool in center of stage. 
Drunkard kneeling upon one knee, face toward audi- 
ence. Pen in hand, he signs paper lying upon stool. 
His eldest daughter is looking timidly over his right 
shoulder, her left hand resting upon him. On right 
stands a temperance advocate, inkhorn in hand. Smiling, 
he looks down upon the paper before the signer. On left 
center, wife kneels down. In one arm she holds her 
babe, her face upturned toward heaven. The boy has 
hold of his mother's skirt, looking at her with wondering 
eyes. 



TABLEAUX. 27 



HALLOWED BE THY NAME. 



THIS beautiful tableau may be represented in several 
ways. 
A mother in dark dress, and child in white, kneeling 
Upon crimson cushion with hands folded in attitude of 
prayer. 

Or, a young lady in white, hair unbound, in attitude 
of prayer. 



THE THREE FISHERS. 



SCENE I. — The fishermen are accompanied to the 
shore by their wives and children. They leave 
with happy hearts, and bright anticipations of the day's 
rewards, and their safe " welcome home." 

Scene II. — The anxious mothers and children look- 
ing eagerly over the waters to catch a glimpse of the 
absent ones. 

Scene III. — Their dead bodies washed ashore by the 
angry surf, the mothers wringing their hands with grief. 



28 TABLEAUX. 



ANNE BOLEYN'S KEJECTION OF HENRY 
VIII'S FIRST GIFT. 

CHARACTERS. 
Anne Boleyn.— Lord Rochford (her father). 

COSTUMES. 
Anne Boleyn.— Robe of crimson velvet. 

Loud R.— Velvet coat and knee breeches ; silk stockings ; pumps ; lace 
frills, etc. 

SCENE. 

Anne Boleyn's chamber at Hever Castle. Only a 
portion of it is shown, therefore any very elegant furni- 
ture available will answer. A couch, or handsomely 
carved chairs, ottomans, footstool, screens, or a dressing- 
table with gilt glass, lace trimmings, tall gilt or silver 
candlesticks, jewel caskets, etc. Quantity of furniture 
will depend upon the size of the stage. It must not be 
crowded. Chair right — Anne Boleyn seated at left 
centre — three-quarter view to audience. Lord Rochford 
right centre, on one knee before her, profile to audience. 
He holds in his left hand an open jewel-case, and in his 
right a demi-crown, or circlet. His expression shows 
satisfaction and pride. Her whole attitude expresses 
repugnance and refusal — head turned aside, left hand 
raised to screen her eyes from the glare of the jewels, 
and right hand extended with vertical gesture. 

The jewel is formed in a half circle pointed at one 
edge, like a crown, and may be made of pasteboard 
covered with gilt paper, and thickly studded w T ith bits 
of colored glass or tinsel, to represent gems. A frosting 
of diamond dust will make it sparkle. j 



TABLEAUX. 29 

DISCOVERING A LEAK. 

CHARACTERS. 
Mistress. —Servant . —Servant ' s Mother. 

STAGE PROPERTIES. 

Ordinary kitchen furniture. A number of packages representing 
groceries ; loaf of bread and pound of butter ; old basket ; long cl«~ak 
and large bonnet. 

SCENE. 

The kitchen. Table centre, against rear wall, piled 
with packages. Servant's mother seated to right of it, 
wearing large bonnet and long cloak, and holding the 
basket, containing several packages, in her lap, in such 
a manner as to show it is carried underneath the cloak. 
Servant stands in front of table, a loaf of bread in her 
hands, which she is in the act of putting into the basket 
when arrested by the entrance of her mistress. Mistress 
in street costume, entering door left. Facial expression 
of all indicates surprise and consternation. 



THE VILLAGE POST-OFFICE. 

CHARACTERS. 
The Post Mistress.— The Spinster.— The Young Girl. 

STAGE PROPERTIES. 

A square table ; table cloth ; fifty or sixty letters folded in old style and 
sealed ; old-fashioned high-back chair ; another chair ; wooden stool- 
three-legged one if possible ; placard with "Post-office" printed con- 
spicuously at the top ; an imitation counter ; pens, ink, paper, and 
blotting-pads. 

The scene is represented behind the counter. A door 
to rear left represents the post-office entrance, and in 
front of it is placed the counter. Upon it are pens, ink, 
paper, and blotting-pads. Underneath is a basket to 



30 TABLEAUX. 

receive the drop-letters. Post-office notice hangs on rear 
wall. Should this part of the tableau be too difficult 
to arrange, or impracticable, it may be dispensed with 
and only the foreground scene used. 

To the right of the stage place the table. At it ia 
seated, on the high-back chair, the Post Mistress facing 
audience. Letters are piled and strewn over the table, 
as though being sorted ; stool is partly pushed under the 
table in front ; cloth awry and caught on it. 

To the left of the stage place the other chair, side-* 
wise ; and, as though just having risen from it, stands 
the Spinster. She faces the Post Mistress, profile to 
audience. In her right hand she holds to the light (pre- 
sumedly coming from window beside the Post Mistress) 
a sealed letter, which it is evident she is tr^ ing to read. 
Her expression is important ; shows effort and great 
eagerness, which is made more manifest by her rising 
partly on tip-toe. Between the Spinster and the Post 
Mistress stands the Young Girl, full face to audience. 
One hand rests on the corner of the table, the other 
supports the uplifted arm of the Spinster, whose left hand 
rests against it. Her expression is of profound interest, 
eyes uplifted and parted lips. 

The Post Mistress is turned facing the Spinster, three* 
quarter face to audience. Her left arm rests on the 
table, and the forefinger of her right hand is placed 
upon her lips, as though to enjoin secrecy. 

Well adapted costuming will add greatly to this 
tableau, although any antique or striking country 
dress will answer. We suggest a cap and shawl for the 
Post Mistress, who should be represented as middle-aged ; 
the Spinster, tall and slender ; the Young Girl, short and 
stout. 



TABLEAUX. 31 

THE DOUBTFUL BANK NOTE. 

CHARACTERS. 
Middle aged Man.— Old Woman and Child. 

COSTUMES. 

Man.— Shirt sleeves turned back ; butcher's apron and spectacles. 

Old Woman. — Old-fashioned scoop bonnet with cape ; cloak ; figured 
dress (waist and skirt of different material) ; check apron ; skirts very 
short ; white stockings and low shoes ; basket and umbrella. 

Child.— If a girl, plain chintz dress and doll. If a boy, colored shirt 
and suspenders ; half length loose pants ; express wagon or kite. 

SCENE. 

May be either a country store or a cobbler's shop. 
If the store — which will be most effective — it should 
contain a little of everything. Kitchen, store-room, 
and pantry may be rifled to furnish stage properties, 
and none of their contents rejected. It will be neces- 
sary to have a counter, or imitation one formed of 
tables and covered with a plain shade of muslin. On 
it should be scales, ball of string, and wrapping-paper. 
Place counter to rear of the stage — tubs, buckets, bas- 
kets, brooms, etc., stand on the floor. Rope, brushes, 
poultry, hams, etc., hang upon hooks. If arranged as 
a cobbler's shop, low wooden bench, with cobbler's tools, 
thread, wax, and a number of old shoes is all the stage 
furniture necessary. With either setting figures are 
arranged as follows : 

Man stands at front centre facing audience. He is 
turned partly to left, as though to catch the light from 
window right, and holds in both hands, as if testing and 
carefully scrutinizing a five-dollar bank note. On his 
left, facing audience, stands the Old Woman, basket and 
umbrella in left hand held high as her waist ; right 



32 TABLEAUX. 

hand beyond the cloak, with open palm showing eager- 
ness. Face uplifted to his with a most anxious and 
woe begone expression. 

Child stands to right of the man gazing upward with 
childish curiosity, neglected toy in its hand. Adult 
figures present three-quarter view to audience. Child 
profile. 



THE HEART'S RESOLVE. 

CHARACTERS. 
The Dame and the Maiden. 

STAGE PROPERTIES. 

Table, two chairs, and footstool (quaint old furniture if possible), pot of 
growing plants piece of knitting, a very elegant white silk gown and 
pair of old-fashioned spectacles. 

COSTUMES. 

Scotch peasant's dress. Old Dame should wear the snood with white 
under cap showing round the face. The Maiden is in house dress with- 
out either snood or plaid. (They may hang upon the wall with good 
effect.) She should wear an apron of some plaid material. 

SCENE. 

Living-room of peasant's cottage. Table right; 
upon it the flower-pot and knitting. Large arm-chair 
left. Silk robe thrown across it. Another chair be- 
side the table. Upon it is seated the Maiden, facing 
audience. Her right foot upon the stool and bands 
clasped upon her knee. Expression extremely sad, but 
very resolute. Old Dame stands slightly back of her, 
bending toward her with pleased look and persuasive 
manner. In her left hand she holds to view the sleeve 



TABLEAUX. 33 

of the silken robe, and in her right the spectacles, as 
though just having taken them off after examining the 
dress. 

Stage should be so arranged that the figures will be 
directly in the centre — close together. Right hand of 
the Dame touches the dress of the Maiden. 

The following verse from the old Scotch ballad may 
be read by an unseen person while the tableau is 
shown : 

A chain of gold ye shall not lack, 

Nor braid to bind your hair 
Nor mettled hound, nor managed hawk, 

Nor palfrey frisk and fair. 
And you, the foremost of them a', 

Shall ride on forest green ! 
But yet she loot the tears down fa* 

For Jock o' Hazeldeeru^ 



THE UNION FOREVER. 

A tall young lady, dressed to represent the Goddess 
of Liberty, stands holding a shield. A fair young girl, 
with flowing hair, dressed in white, and made to repre- 
sent an angel, is printing upon the shield the words 
" The Union Forever." The lettering on the shield 
should be complete, exceping the last. The action 
should be that of printing the R. 

If desired, a second scene may be produced with the 
R completed. 

Patriotic music, red light from the front. 






34 TABLEAUX. 



THE ARTISTS DREAM. 

Platform arranged to represent an artist's studio. A 
person attired as an artist, reclining upon a sofa or 
lounge, and a child dressed to represent a fairy, holding 
a wreath of laurel above the recliner's head. 



COLUMBUS BEFORE FERDINAND AND 
ISABELLA. 

CHARACTERS AND COSTUMES. 

Columbus.— Clad in dark Knickerbocker suit, over which is cast a long 
black cloak, thrown hack from one shoulder ; long stockings, low shoes, 
with buckles ; ornaments and gold chains about neck and arms ; black 
hat with plumes, in hand ; hair thrown back from forehead ; fuU 
beard and mustache. 

Isabella.— Rich flowing dress with train ; arms bare to elbows ; crown 
upon head. 

Ferdinand.— Knee breeches ; long stockings ; cloak of dark red, bordered 
with ermine ; heavy ermine collar ; ornaments worn on front of dress ; 
low shoes with buckles ; crown on head. 

Two or three doctors, in long black gowns, close-fitting at neck. 

Several lords and ladies in attendance, attired in costumes of the court i 
half a dozen persons painted and dressed as Indians and a dozen mora 
to represent soldiers, will be necessary to complete the picture. 

FIRST TABLEAU. 

Ferdinand and Isabella seated on a double throne, 
which should be raised two or three steps. 

Columbus should be kneeling upon one knee at foot 
of throne, hat in left hand, right hand placed on chest, 
head inclined forward, eyes dropped. 

Doctors standing on left of throne, lords and ladies at 
right and in the rear ; still further in the rear, soldiers, 
clad in armor and bearing flags, spears, and battle-axes. 



TABLEAUX. 35 

Indians with bows, arrows, and tomahawks, standing in 
a group near Columbus. 

j SECOND TABLEAU. 

King and Queen may be standing, each extending a 
hand toward Columbus, indicative of favor. Red light 
fron\ front, and martial music. 



A PLEASANT ACQUAINTANCE. 

CHARACTERS. 
Young Man and Maiden. 

Man brunette ; maiden blonde ; both attired in peas- 
ant costume. Attitude and expression indicative of 
much pleasure at meeting. 



THE STOLEN BIRD'S NEST. 

CHARACTERS. 

A mother and two children— boy and girl. 

Mother may be attired in neat plain garb ; boy in printed shirt and knee 
breeches, feet bare ; girl in cotton dress and pinafore. 

Mother seated, holding in left hand a bird's nest, con- 
taining four or five small eggs ; right hand raised, index 
finger pointing toward nest, with a look of sad re- 
proach in countenance. 

Little girl with head drooped and turned away and 
apron drawn over one side of face, as though hiding 
from the mother's gaze. 

Boy holding large straw hat tightly against his side 
with both hands ; face downcast and averted. 



36 TABLEAUX. 



INNOCENCE. 



CHARACTER AND COSTUME. 



A. little girl of twelve or thirteen dressed in white, with arms, feet and 
neck bare— hair hanging loosely about head. 



The child should be seated in a chair, leaning forward 
with arms on small table, holding in loving embrace a 
white dove or pigeon — chin lightly resting upon the 
neck of bird. 

THE DRUNKARD'S HOME. 

FIRST TABLEAU. 

Before Taking the Pledge. 
A bare, comfortless apartment. Man with seedy, torn 
garments and disheveled hair reclines in drunken stupor 
on floor or bench, with flask beside him. Seated upon 
a broken chair, with sad, pale countenance, and faded 
garments, is the wife, darning an old worn-out pair of 
stockings. Three or four ragged little children with 
unwashed faces and uncombed hair crouch beside her, 
looking cold and unhappy. 

SECOND TABLEAU. 

After Taking the Pledge. 
Room tastefully arranged and comfortably furnished. 
Father seated by table in dressing gow T n and slippers, 
reading book or paper. Mother beside him > becomingly 
dressed and looking very happy, sits sew T ing in a rocker. 
The children, neatly attired and with faces brimful of 
joy, are having a romp in one corner. 



TABLEAUX. 37 



THE VILLAGE CHOIR. 

Two lads and two lassies dressed in old style, standing 
with their note books in their hands, their mouths open 
in a most sanctimonious manner. 



REVERIES OF A BACHELOR. 

The old bachelor sits in his easy chair, a handsome 
fellow, in dressing-gown and slippers. To the right or 
left, and in the rear, should be placed the frame of a 
pier mirror, behind which his visions must glide. First 
his early love, the girl of twelve years; second, the coun- 
try lassie of sixteen ; after these, the soft-eyed Italian 
girl, the broad-shouldered Hebe of Germany, the fash- 
ionable city girl, and, finally, the woman of his mature 
love, in bridal dress and veil. At this point the 
bachelor starts up transfixed, the curtain drops quickly, 
and when it rises he too is standing behind the frame, 
in dress coat and suit, with the blushing bride, indicating 
by the attitude that the ceremony of marriage is about 
to be performed. 

THE MOTHER OF THE GRACCHI. 

Cornelia. — Roman matron's dress, white sandals; a 
small white tiara upon the head, under which the white 
hair is parted and drawn straight bach in classic style. 

The Gracch-i. — Two boys of about ten and twelve years 
of age; they wear the Roman sacque belted at the 
waist, with low neck and short sleeves; legs bare; 
white sandals; curly white wigs. 



38 TABLEAUX. 

Upon a raised white platform sits Cornelia in an ample 
arm-chair, covered with white ; she faces the audience 
directly. 

Her right arm rests about the waist of the elder boy, 
who stands watching his mother, with his profile toward 
the audience. Cornelia's left hand encircles the waist of 
the younger boy, whose body is turned toward the audi- 
ence, though his face is thrown off to the right, as if 
in the act of listening. 

If music be introduced it should be martial or heroic 
music. 



TWO BLIND BEGGAKS. 

Two Beggars. — Make up like old men ; ragged clothes, 
old hats and crutches at side ; card on each of their 
breasts with the word blind distinctly marked ; tin 
cups in their hands. 

Lady. — In handsome street dress ; with purse. 

The beggars are seated side by side in centre of stage, 
a little back ; their eyes are closed, their expression is 
piteous, and they hold out the tin cups toward the lady, 
who stands on right, opening her purse. 

The second scene discovers the beggars sitting opposite 
each other, their eyes open, their placards thrown over 
their backs, and they playing cards. The trick lies on 
the stage, and one of them is in the act of picking it 
up with a cunning smile on his face. The other man 
holds his cards and looks annoyed. 

Very sad music. 



TABLEAUX. 39 



SNOW-BIEDS. 



Three Little Girls about six or eight years old* 
should be clad in winter dresses of dark material 
trimmed with fur; muffs, fur caps, and red stockings. 

The picture should present the snow-birds huddled 
together in a group in the centre of the stage. The 
dresses, which should be alike, must be amply flecked 
with bits of white paper, in imitation of snow. A clump 
of evergreens behind should be powdered with white 
cotton. Stage must be covered with white cloth. 

Soft music, if any. 



FLOWER FACES. 

A green muslin curtain is hung to form the back- 
ground for the flowers. Children's faces form the 
centres of the flowers. Holes are cut in the curtain 
just large enough to admit the heads of the children, 
who are so arranged that the different heads are seen 
at different heights to form a bouquet. Some can 
kneel, some can stand, some lie down, and some can 
be elevated on chairs or boxes arranged behind the 
curtain. Group the children as closely together as is 
practicable. The heads are thrust through the holes 
in the curtain, and flower petals of exaggerated size 
made of colored paper are closely fitted around the 
head of each child. Sunflowers, daisies, pansies, calla- 
lilies, buttercups, wild roses, violets, etc., can thus be 
represented. 



40 TABLEAUX. 



UNDINE. 

THIS tableau will be made most beautiful and effect- 
ive if the following directions are observed. First* 
a frame, six feet by four, is needed. For unreal, misty 
effect, a double thickness of black gauze should be 
used. 

Place a mirror at an inclination which you can deter- 
mine by experiment. Cover it with one thickness of 
black gauze, surround it with water-plants, vines, ivy, 
— anything to make it appear a natural piece of water ; 
let there be tall flowers at the back, like lilies and iris, 
and low trees of picturesque form to represent bushes. 
These you can get of any florist, in pots, and the pots can 
easily be hidden behind the mirror in the hollow plat- 
form. A bough of pine nearer the foreground can be 
easily introduced by nailing it to a screen. The back- 
ground should be gauze of a subdued green, and lilies on 
the surface of the mirror, pinned to the gauze stretched 
upon it, will cast soft reflections. Have real flowers if 
in season, artificial ones if not. 

The Undine should be slender and fair ; her dress of 
diaphonous white ; her hair long and wet, and dripping. 
From her hands drops of water falling may be repre- 
sented by drops of crystal strung upon a hair or fine silk 
thread. Let a mild, suffused light shine dimly through 
the background, and let the cast light be placed at the 
left front corner of the picture, with a hemispherical re- 
flector, and shining through a green glass. The reflec- 
tion of the Undine in the mirror seems to make a move- 
ment with her own body like a fountain. 



TABLEAUX. 41 

OPHELIA. 

For Ophelia use the same stage appointments as for 
Undine, altering the character of the surroundings a 
little, to give it a wilder expression. 

The right hand of Ophelia should be seen clasping 
hold of an overhanging branch as if for support — the 
body thrown forward, the gauzy- white drapery of the 
overskirt pulled to the right. Let the hair of the 
Ophelia be very dark, and her face very pale, and her 
figure tall, slender, graceful ; her eyes must look at 
nothing, and the action of her hand seem automatic as 
she drops the flower at which she does not look. Here 
a hair or invisible silk must be used to hold the flower ; 
fasten the hair or silk to the root of the middle finger, 
that the action of the finger tips may be unencumbered. 
For this character you must choose a woman with some 
dramatic talent. 

Let there be no color in the picture but a dull green, 
and perhaps a little purple among the flowers ; let the 
rest be white, and let the light in the background be 
extremely faint, and the cast light at the right-hand 
upper corner in front be very brilliant, and cast directly 
upon the upper portion of Ophelia's face and body, and 
let a parabolic reflector be used and no glass, but the 
light pure and simple. 

A MONK IN HIS CELL. 

A frame about four feet, six inches square — varying a 
little with the size of the actor — will be large enough for 
the next picture, a " Monk in his Cell '' by moonlight, 
meditating upon a skull. The window used in this 
should be a latticed frame containing no glass, and there 
should be neither top nor foot lights used here. Every 
light should be extinguished but one to the right of tho 
picture, which shines through the window ; a parabolic 



42 



TABLEAUX. 



reflector should be used, the rays cast directly upon the 
white-hued cowl of the monk, and making a shadow on 
the wall. The light must shine through glass of a cold 
shade of green "cathedral rolled/ ' The wall of the 
cell can be perfectly represented by a screen papered 
with that coarse, heavy, gray paper, rough in surface, used 
sometimes without wadding beneath carpets, — a very 
thick paper, very cheap, and of a stone-gray. The actor 
can easily find at a wig shop a wig to represent a shaven 
head with the monkish fringe of hair ; the dress can be 
made of black and white flannel or serge ; the table of 
unpainted pine, made at any carpenter's, oiled down 
into a dull tone or made of weather-stained plank; 
there should be a rough seat of the same. A skull can 
be procured at any medical college, or of almost any 
physician. This is one of the simplest of all the tab- 
leaux, and one of the most effective, if the light be well 
arranged and the air of mystery be given to the shadows 

A NUN AT IJER DEVOTIONS. 

" A Nun at her Devotions" is one of the simplest of 
all. It hardly needs description. A background of 
dark brown gauze, very faintly lighted at the upper 
right-hand corner ; a dress of black serge or stuff, with 
black veil and white coif; a crucifix and rosary, — these 
are the very simple materials needed. Let the light 
fall from the left-hand upper corner in front, and use 
the parabolic reflector. Choose your nun for the beauty 
of her eyes, the regularity and refinement of feature, and 
the elegance of her hands. 

THE HARVESTERS. 

"The Harvesters" is capable of very exquisite effect, 
if given with artistic sense and a judicious selection of 
actors. 



TABLEAUX. 43 

It is by no means difficult, and of a most trifling cost. 
The frame is seven feet by five, or a little less. The 
.stage should be at a slightly sharper inclination than 
for the tableaux heretofore set down, and in depth 
not less than fifteen feet, at which point two of the 
frames of the screen, covered with gray-blue gauze, 
should stretch across the entire stage. At least four 
feet behind that, hang a full curtain of gauze across, 
falling from the top to within three feet of the stage. 
Two or three feet behind this hang a curtain of cambric 
or thick cloth, coming within four feet of the stage. 
Several feet behind this have an absolutely opaque 
screen, — if convenient wood, otherwise paper, — which 
shall leave an open space of three or four feet above the 
stage across its whole length, and let the space behind it 
be very brilliantly lighted with lights shining through 
yellow glass. This will give you the effect of a sunset 
sky. 

On your stage, at the back, set a bush — a wild bush, 
like a small thorn tree, or furze-bush. Cover your 
stage with cloth, flannel or velvet, of a dull old gold, or 
golden brown, to represent a reaped field. Let a sheaf 
of wheat be set here and there, at judicious distances, 
and your scene will be complete. 

For actors, choose tnose capable of looking the part 
of French peasants, — not too slender in figure, rather 
muscular ; let the complexion be, or be painted, dark, 
with color in the cheek. You may vary the group by 
placing behind the group of women a dark, muscular 
youth carrying a sheaf of wheat on his left shoulder, 
bareheaded and with black hair. His shirt, if white, 
should be of a yellowish, dirty tone, or it should be gray, 
open at the throat. The whole group must have the 
action of moving forward and singing as they go. Let 



44 TABLEAUX. 

the light he cast from the left upper corner in fronf^ 
through a yellow glass, and with the use of a hemispher- 
ical reflector the light will be diffused gently over the 
whole. The main light should be from the back, as if 
from the sunset. 

THERE'S NO ROSE WITHOUT A THORN. 

The scene is a parlor. — Standing in the foreground 
is a young girl, simply dressed. In her left hand she 
has a rose, and holding out her right hand shows to 
her companion the scratches made by the thorns (a 
little carmine paint, put on with a fine camel's-hair pen- 
cil, makes very painless scratches). Her companion, a 
young man dressed as a mechanic's apprentice (a car- 
penter's, butcher's, shoemaker's or any other trade), is, 
with a look of sympathy, raising the wounded hand to 
his lips. Behind the young man stands his employer, 
with an expression of rage, raising a rope, as if about 
to strike the apprentice. He is not perceived by either 
of the young people. 

In the background is a child, with a look of great 
glee, putting its fingers into a jar, marked jam, while 
the mother, behind the child, is raising her hand to W* 
its ears. 



SENT BY EXPRESS. 

A trunk turned on its side, and a few coats or shawls 
placed upon it, form a bed for a sleeping child, dressed 
as for a journey. Several trunks and valises are stand- 
ing near. 



TABLEAUX, 45 

ANNOUNCEMENT II. 

Those four youngsters of Jack's wish that Uncle 
Theophilus Phipps's memory was as good as his inten- 
tions, and little No. Five, whom Uncle Theophilus 
Phipps has never heard of, thinks the world has all gone 
wrong. 

SCENE II. 

Four boys and one girl ranging in age from five to 
fifteen. Beside the largest boy stands a very small pair 
of boots. The boy is slightly bending over, measuring 
his foot by the boots on the floor. No. Two, with an 
amused expression, holds by the ends of the sleeves, 
and in full view of the audience, a small-sized shirt- 
waist. No. Three is a young miss, with one hand on 
her hip and the other raised, upon the thumb and little 
finger of which she holds a tiny glove. No. Four is a 
boy, with one hand in his coat-pocket and the other sup- 
porting his chin, while upon his head rests a email 
child's hat, several sizes too small for him. In the fore- 
ground stands No. Five, the smallest child of the group. 
He is crying, with both hands held to his eyes. 



ASKING A BLESSING. 

A little girl of three or four years of age, with a bib 
tied under her chin, is seated in a high chair at a table 
on which stands a bowl with a spoon in it. Her hands 
are clasped and her eyes are downcast. 



THE ECLIPSE OF THE SUN (SON). 

A very small child is sitting on the floor with his 
head completely covered by a man's hat. 



46 TABLEAUX. 

AT THE STAKE (STEAK). 

A rather corpulent young girl in chintz dress, with 
sleeves rolled above the elbows, large kitchen apron on, 
holds a fork upon which is a large piece of meat, toward 
her wide-open mouth as if about to eat it. A plate is 
standing on a table close by. 



IN DISGRACE. 

Half-a-dozen girls are seated upon benches in a school- 
room. Two of the girls are studying from the same 
book. Two others are holding a book between them, 
but one is whispering in the other's ear. In the fore- 
ground stands a girl with her arm across her eyes as if 
crying. Her book is in the hand hanging by her side. 
A girl seated on the bench nearest to her is trying to 
peep up into her face. The teacher stands at one end 
of the room with a frown upon her face. 



BIRTHDAYS. 

CHARACTERS. 

Seven Young Girls. 

As each is called by the reading of her couplet, she 
will come upon the stage and take her position, which 
she must retain without moving until the whole tableau 
is complete. The positions should be such that the 
seven will form a semicircle. 

Born of a Monday, 
Fair of face. 

This character should have a very beautiful face, and 
she should be dressed simply in white. 



TABLEAUX. 47 

Born of a Tuesday- 
Full of grace. 

This character should be dressed in some very light, 
airy material, white slippers, and fancy cap. She should 
be very slight and graceful in figure, and should enter 
with a gliding movement. She may carry a fan, or 
tambourine, or guitar, or any graceful looking article. 
Her unemployed hand is extended in a waving position. 

Born of a Wednesday 
Merry and glad. 

This character must have a merry countenance. Her 
hair is worn loose upon her shoulders. Her dress should 
be bright in color, and she wears a small round cap, 
matching the dress in color, set well back upon her head. 
She comes upon the stage skipping gayly. 

Born of a Thursday 
Sour and sad. 

This character wears a dress of light gray, a Nor- 
mandy cap, and a long apron. Her face is grim and 
unsmiling. She has a corner of her apron in her mouth 
and she is pulling at it in a petulant manner. She 
walks upon the stage with jerky, sullen movement. 

Born of a Friday 
Godly given. 

This character should be dressed in the garb of some 
religious order of Sisters, as a nun, or Sister of Charity, 
the long veil draping her figure. Her face is serene 
and devout, and her hands are clasped. Her beads and 
cross should show plainly. 



48 TABLEAUX. 

Born of a Saturday- 
Work for a living. 

This character wears a working-dress, sweeping- cap, 
handkerchief knotted loosely around the throat, and 
big apron. Her sleeves are rolled above the elbows. 
She carries a long-handled sweeping-brush and a dust- 
ing-cloth. She enters with motion of sweeping. 

Born of a Sunolay 
Never shall want. 

This character must be dressed as richly as possible 
in silk or satin with jewels and other adornments of 
dress. A dress with a court train is desirable. Au 
elaborate head-dress of feathers, lace, and jewels is 
worn. 

(When the group is complete the following stanza 
may be read by the person who called the characters) : 

Thus runs the old rhyme 
(You may trust it or not), 
And to every child 
It apportions a lot, 
Which shall be good or ill, 
Rich, gay, or forlorn, 
In accord with the day 
On which she was born. 



SHAKSPEARE'S SEVEN AGES OF MAN. 

Illustrated by moving tableaux. 

The characters will appear upon the stage and make 
their exit without any drop of the curtain. 

"At first the infant mewling and puking in its nurse's 



TABLEAUX. 49 

arms" is represented by an infant in long clothes car- 
ried in the arms of a woman wearing a dark dress, thin 
white muslin cap and apron. They enter slowly, pause 
at the centre of the stage, and face the audience for a 
minute or two, then pass slowly out at the side of the 
stage opposite entering point, while enters — 

" The whining school-boy, with his satchel and shin- 
ing morning face, creeping, like snail, unwillingly to 
school." 

As this character, with hesitating, reluctant steps 
passes off the stage, enters " The Lover," a young man 
with eyes upturned and hand upon his heart, " sighing 
like furnace." As the lover departs the soldier enters 
with martial tread and with hand upon his sword-hilt. 
Upon his exit there comes in the middle-aged Justice, 
grown portly in body and serene of face. 

Next comes the elderly man with spectacles on nose, 
and leaning on his cane. And last comes tottering age, 

" Sans teeth, sans eyes, sans taste, sans everything." 



THE TEMPTED. 

SCENE I. 

A young man and a young lady, in full evening dress, 
are standing partially facing each other. She has a 
glass of wine in her hand, which she is offering to the 
young man. He has his right hand slightly raised as 
if to take the wine, yet his attitude shows some hesita- 
tion, as if he is inclined to refuse it. A little behind 
him, to his left, stands a man dressed as Mephistopheles 
in scarlet domino and mask. He is leaning eagerly 
toward the tempted one. On the right of the young 
man and a little behind him is a young girl, dressed to 



50 TABLEAUX. 

represent a good angel, in a thin, white robe, and wear- 
ing a pair of gauzy wings. She, too, eagerly and wist- 
fully watches the tempted youth. 

SCENE II. 

The young man stands w 7 ith head erect and arms 
folded, having successfully resisted the temptress. The 
wine-glass, with its wine untouched, stands on a table 
near by. The young lady has turned away, only her 
back being seen. The evil spirit, in a crouching pos- 
ture, is at a little distance, the good angel standing 
between him and the young man. 



THE SOLDIER'S DEPARTURE. 

A young man, in the dress of a private soldier, is bid- 
ding good-bye to wife and home ere he is " off for the 
war." The wife, with her head bowed upon her right 
hand, is leaning that hand against the door. Her dress 
is a simple home costume. Her left hand, down beside 
her, is held in the soldier's left hand, his right resting 
upon her left shoulder. His face is eager and hopeful, 
hers is sad and tearful. 



THE SOLDIER'S RETURN. 

The young soldier wears a captain's uniform in this 
scene. The wife, with a happy face, is looking up 
toward heaven as if in grateful prayer. Both her 
hands are clasped in his, and he looks lovingly into her 
upturned face. 



TABLEAUX. 51 

GREAT EXPECTATIONS. 

A youth of about sixteen, in shirt sleeves, hair nicely 
combed, is holding a hand-glass in his left hand, while 
with the forefinger of his right hand he is feeling his 
upper lip. 



COMIN' THROUGH THE RYE. 

THE tableau represents the heroine of this popular verse 
standing to the right of the centre of the stage, with 
her face turned slightly towards the right, away from the 
young man, who stands beside her. Her right hand should 
be raised before her, as if putting him off. Her costume 
should be a Highland dress of plaid, or a blue skirt and 
white peasant-waist, with a scarf thrown over her shoulders. 
The young man should stand at her left, and just in the 
act of putting his right arm around her waist, his left 
hand holding her left to his breast ; while his head should 
be inclined forward, as if attempting to touch her cheek. 
He should be dressed in striped pants, white shirt, and 
Scotch cap. A landscape may form the backgroiind if 
scenery is used. Music, " Comiu' thro' the Rye." 



LISTENERS HEAR NO GOOD OF 
THEMSELVES. 

THE scene is a parlor. — In the foreground are two 
young girls, one of whom holds a miniature out to 
the other, who puts it aside, with an expression of angry 
contempt. The first girl is laughing heartily, and pointing 
her finger at the second, as if teasing her about the picture. 
Peeping out from behind a w 7 indow-curtain is a young 
man, who, with an expression of perfect rage, is shaking 
his fist at the ladies in the foreground. 



52 TABLEAUX. 

SPIEIT OF 76. 

THREE GENTLEMEN AND THREE LADIES. 



THIS scene forms a very fine domestic tableau of the 
Revolutionary epoch of '76, and may be produced 
with but little expense in the way of time and costuming. 
The principal figure of the group is a young man of 
About twenty-five years of age. He is represented tta 
about leaving his family, who are seen busy in prepara- 
tion for his departure to the field. He stands a little 
farther back than the centre of the stage, his right hand 
grasping a musket, with bayonet attached, which is ex» 
tended towards him ; his left resting upon the hilt of a 
sword, which is held towards him from the left. Aboat 
two-thirds of his face is turned towards the audience, and 
he looks out towards the right with a determined expres- 
sion upon his face. He is dressed in a dark uniform- 
coat of the period, with lace rufrles at the wrists, black 
vest with broad lace rufrles, black breeches, silk stock- 
ings, and buckle-shoes. The old man, his father, stands 
at his right, holding the gun towards him, the stock lying 
upon his left hand, while his right is upon the lock ; and 
he looks at that part carefully, as if examining its con- 
dition. He is dressed in light-brown coat and breeches, 
dark vest, silk stockings and pumps, and a gray wig, 
with bald front upon his head. The young man's mother 
stands at his left, holding the sword in her left hand 
towards the son ; while her right is raised above her 
head, and pointed upwards, as she looks at him with an 
earnest expression. 

Her dress is of plain blaek material, with small white 
shawl over the shoulders, pinned at the waist, and cap 



TABLEAUX. 53 

with ruffle upon her head. One lady kneels in front of 
the young man, holding the ends of a sword-belt, which 
passes over his shoulders, in her hands, in the act of fas- 
tening it. She is plainly dressed, with a large hand- 
kerchief over her shoulders, and her sleeves rolled up 
above her elbows. In this position her back is towarda 
the audience. The wife of the officer is seated upon the 
left of the stage. She holds in her left hand a large 
white paper, at the top of which is printed or written in 
large letters the words, " Fourth of July, 1776." The left 
side of her face is turned towards the audience ; and she 
looks towards the young man with a firm expression, point- 
ing with her right hand to the paper which she is holding. 
Her dress is a gray or crimson silk, black lace shawl, and 
lace cap upon her head. A chair, holding a knapsack 
and hat, may be placed upon the right of the stage. 
The remaining characters are a young boy and girl, the 
children of the officer. The boy is seated in front of 
his father, a little to the left. He is engaged in pouring 
gunpowder from a paper into a horn which he holds in 
his lap. He is dressed in a black velvet frock, knee- 
breeches and gaiters. The little girl is seated at her 
mother's feet, her right arm upon her lap, and looking 
anxiously at her father. She should be of light com- 
plexion, with hair in curls, and dressed in short white- 
muslin dress, with low neck and short sleeves, and a blue- 
silk sash. As the curtain rises, a bright-red light should 
be thrown upon the group, changing to a white, and then 
to a bright-blue light, which remains until the fall of the 
curtain. The music is " Hail, Columbia," or some 
other national American air, played in a spirited manner. 

"Home Recreations." 



54 TABLEAUX. 

PLAYING GROWN-UP. 

A little girl dressed in a long skirt is seated in a 
small rocking-chair, holding a doll. Another little girl 
in a long dress, shawl or cloak, bonnet and veil, and 
carrying a closed parasol stands at a short distance, and 
a little to one side, and appears in the act of bowing. 

CINDERELLA'S SLIPPER. 

This beautiful tableau may be represented in three or five scenes, and affords 
fine opportunity for dress effect. 

Scene I. 

CINDERELLA meanly clad, the sisters and Prince in 
costliest attire. One of the sisters is eagerly bent 
on forcing her foot into the slipper. 

A very large shoe, which she has just vacated, is on 
the floor beside her. The other, her face and attitude 
showing keenest disappointment, has just put on hef 
shoe. These shoes, while nicely made and in keeping 
with their dress, should be the largest that can be had k 
The slipper may be of w T hite satin, small and handsome. 

Scene II. 
Cinderella, having begged permission to try on the 
slipper, has just seated herself, withdrawn her shoe and 
placed a dainty foot on the cushion beside the slipper. 
The sisters give her a scornful and reproachful look. 

Scene III. 
Cinderella, having put on the slipper, has just drawn 
from her pocket its mate. The sisters, bewildered and 
dumbfounded, have thrown themselves at her feet. This 
scene makes a fitting conclusion to the performance, and 
fhe next two scenes should not be attempted unless the 
appliances are at hand to make Cinderella Imagination's 
richest Queen. 



TABLEAUX. 55 

Scene IV. 
The fairy has touched her clothes with the magic 
wand, and Cinderella has become a being of marvelous 
beauty. Her gorgeous splendor dazzles the eyes of the 
Prince. She helps her sisters to their feet, and shows, as 
before, no resentment for past insult. 

Scene V. 
Cinderella and the Prince, arm in arm, prepare to 
leave the stage, followed by the two sisters. 

Note. — This may be represented with still better effect as a pantoniime. Begin- 
ning with the entrance of t.io Prince, let all their movements indicate closely and 
vividly the current of the story. In this case the curtain need be closed but once 
luring the performance, and should fall after Cinderella lias put on the first 
slipper, drawn its mate from her pocket, and the sisters prostrated themselves at 
her feet. It rises upon the sisters still prostrate, unconscious of the Fairy's magic 
touch, Cinderella gorgeously attired and fully slippered, the Prince in blind be- 
wilderment. The movements must be graceful and natural, and should receive 
much practice. Cinderella must be a mudel of gentleness, sweetness, modesty and 
grace throughout. 

SCRIPTURE SCENES. 

GENESIS XXIV. 



THE following beautiful scenes may be given either 
separately, or as a series. Pictures representing 
these scenes may be found at picture galleries, art stores, 
and in illustrated Bibles, encyclopedias, etc. These will 
be of assistance in the matter of dress. The light must 
be carefully managed, so as to produce the very *«** 
effects : 

Rebekah at the Well. 

Giving Drink to Eliezer, Abraham's Servant. 

Eliezer adorning Rebekah with ear-rings, etc. 

Laban entreating Eliezer to come to his Home. 

Eliezer giving the Message. 

Laban and Bethuel consent. 

Eliezer distributing Presents to the Family, 

Rebekah interviewed. 



56 



'ABLEAUX. 



Rebekah consents. 
Departure of Rebekah. 

Note. — The accompanying description may be read, either before the perform 
ance, or in connection with the representation of the several scenes. If the stage 
or platform be large enough, the performance may be represented with still better 
effect in pantomime. This will require much skill and grace of movement on the 
part of the actors. Just so much of the history should be introduced as can be 
easily reproduced upon the stage. It is not necessary to represent the camels or 
the water-trough, but the well, the tent, Fliezer's servants, with their packages 
of presents, the set table, etc., will, if properly represented, add much to the 
performance. 

And Abraham was old, and well stricken in age ; and 
the Lord had blessed Abraham in all things. And 
Abraham said unto his eldest servant of his house, that 
ruled over all that he had, Go unto my county, and to 
my kindred, and take a wife unto my son Isaac. The 
Lord God of heaven, which took me from my father's 
house, and from the land of my kindred, and which 
spake unto me, and that sware unto me, saying, Unto thy 
seed will I give this land ; he shall send his angel before 
thee, and thou shalt take a wife unto my son from thence. 

And the servant took ten camels of the camels of his 
master, and departed ; for all the goods of his master 
were in his hand ; and he arose, and went to Mesopota- 
mia, unto the city of Nahor. And he made his camels 
to kneel down without the city by a well of water at the 
time of the evening, even the time that women go out to 
draw water. And he said, O Lord God of my master 
Abraham, I pray thee, send me good speed this day, and 
show kindness unto my master Abraham. Behold, I 
stand here by the well of water ; and the daughters of 
the men of the city come out to draw water : and let it 
come to pass, that the damsel to whom I shall say, Let 
down thy pitcher, I pray thee, that I may drink ; and 
she shall say, Drink, and I will give thy camels drink 
also: let the same be she that thou hast appointed for 
thy servant Isaac ; and thereby shall I know that thou 



TABLEAUX. 57 

hast showed kindness unto my master. And it came to 
pass, before he had done speaking, that, behold, Rebekah 
came out, and she went down to the well, and filled her 
pitcher, and came up. And the servant ran to meet her ; 
and said, Let me, I pray thee, drink a little water of thy 
pitcher. And she said, Drink, my lord : and she hasted, 
and let down her pitcher upon her hand, and gave him 
drink. 

And when she had done giving him drink, she said, 
I will draw water for thy camels also, until they have 
done drinking. And she hasted, and emptied her 
pitcher into the trough, and ran again unto the well to 
draw water, and drew for all his camels. And the man 
wondering at her held his peace, to wit whether the 
Lord had made his journey prosperous or not. And it 
came to pass as the camels had done drinking, that the 
man took a golden ear-ring of half a shekel weight, and 
two bracelets for her hands of ten shekels w T eight of gold ; 
and said, Whose daughter art thou ? tell me, I pray thee, 
is there room in thy father's house for us to lodge in ? 

And she said unto him, I am the daughter of Bethuel. 
We have both straw and provender enough, and room 
to lodge in. And the man bowed down his head and 
worshiped the Lord. And the damsel ran, and told 
them of her mother's house these things. And Rebekah 
had a brother, and his name was Laban. And it came 
to pass, when he saw the ear-ring and bracelets upon his 
sister's hands, and when he heard the words of Rebekah, 
that he came unto the man ; and behold, he stood by the 
camels at the well. And he said, Come in, thou blessed 
of the Lord ; wherefore standest thou without ? for I 
have prepared the house, and room for the camels. And 
the man came into the house: and he ungirded his 
camels, and gave straw T and provender for the camelsy 



58 TABLEAUX. 

and water to wash his feet, and the men's feet that wera 
with him. And there was set meat before him to eat : 
but he said, I will not eat, until I have told mine errand. 
And he said, Speak on. And he said, I am Abraham's 
servant. 

And now if ye will deal kindly and truly with ray 
master, tell me ; and if not, tell me ; that I may turn 
to the right hand, or to the left. Then Laban and 
Bethuel answered and said, The thing proceedeth from 
the Lord: we cannot speak unto thee bad or good. 
Behold Eebekah is before thee, take her, and go, and 
let her be thy master's son's wife, as the Lord hath 
spoken. And it came to pass, that, when Abraham's 
servant heard their words, he worshiped the Lord, 
bowing himself to the earth. And the servant brought 
forth jewels of silver, and jewels of gold, and raiment, 
and gave them to Rebekah : he gave also to her brother 
and to her mother precious things. And they did eat 
and drink, he and the men that were with him, and tar- 
ried all night. And they rose up in the morning, and he 
said, Send me away unto my master. And her brother 
and her mother said, Let the damsel abide with us a few 
days, at the least ten ; after that she shall go. And he 
said unto them, Hinder me not, seeing the Lord hath 
prospered my way ; send me away that I may go to my 
master. And they said, We will call the damsel, and 
inquire at her mouth. And they called Rebekah, and 
said unto her, Wilt thou go with this man ? And she 
said, I will go. And they sent away Rebekah their 
sister, and her nurse, and Abraham's servant and his 
men. And they blessed Rebekah, and said unto her, 
Thou art our sister, be thou the mother of thousands of 
millions, and let thy seed possess the gate of those which 
tate them. 



TABLEAUX. 59 

WASHINGTON". 



Tableau I. [Washing.] 

THE STAGE is arranged as a kitchen. — There are 
two benches to the right and left, upon them two 
tubs, and behind the tubs two women, dressed as Irish 
girls. One is rubbing a piece of cloth on the board, and 
the other wringing out a piece. In the background is 
another girl, carrying a basket of clothes out of the room. 
In the centre of the stage, between the benches, is a little 
girl, with a small tub and bench, washing, with a face 
of grave earnestness, a doll-baby's frock. 

Tableau II. [Ton.] 

The scene is a parlor, handsomely furnished. — Rising 
from a sofa is a lady, dressed in a rich neglige, receiving 
two callers, whose walking-dress should be in the height 
of the prevailing fashion. A footman is leaving the 
room. 

Tableau III. [Washington.] 

This tableau, if arranged with taste, is very beautiful 
and effective. In the background, the middle, stands a 
high sideboard, upon which is a bust of Washington. 
Over it is draped a flag, the stars and stripes. Upon two 
chairs, one on each side of the sideboard, which should 
be covered with drapery, are two little girls, dressed in 
white, with blue rosettes and crimson sashes, who hold 
above the head of Washington a laurel wreath. In the 
foreground, two soldiers, in the Continental uniform, pre- 
sent arms to the conqueror. 

The uniforms and bust can, if not owned by the per- 



60 TABLEAUX. 

formers, be hired at a very trifling expense. This tableau 
is very effective, if well grouped. 

"Hail, Columbia," or "The Star-spangled Banner," 
played slowly, adds very much to the effect. 



A HARD SHAVE. 



THIS tableau is represented by one gentleman, who i\ 
seated on a stool in the centre of the stage, at a 
email table. On the table is a small mirror leaning 
against a broken pitcher, and shaving materials. He is 
seated with his left side towards the audience, and look- 
ing towards the right at the glass. He should be in his 
shirt-sleeves, his chin covered with lather, his right hand 
with the razor just shaving the soap off, while his face 
wears an expression of great pain. He should have his 
right shirt-sleeve turned up, his left hand resting on his 
knee. 

The effect depends upon the comic expression produced 
by the actor, and may be made very laughable. Musio 
lively. 



WATERING THE HORSES. 

A small boy is driving two very small toy horses to 
which lines are attached. Near by stands a little girl 
bending under the weight of a large pail of water. 



TABLEAUX. 61 



CARRYING THE CLOTHES TO THE WASH. 

A little boy and girl, each about ten years old, are 
carrying a large clothes-basket in which is seated a 
merry- faced child of th±ee or four years. 



MAUD MULLER. 

Let the stage be covered with loose hay, and stand 
several stacks at irregular intervals. Maud Muller 
should be represented by a young lady of petite stature 
and blonde complexion. Let her dress be of chintz, 
very simply made. A large shade hat is set jauntily 
upon her head and tied under the chin. A rake is in 
her hand, and a far-off, dreamy look in her eyes. 



SECTION II. 



SELECTIONS FROM TENNYSON'S "MAY 
QUEEN." 

WITH TABLEAU ILLUSTRATIONS. 

Tableau I. 

A middle-aged lady, plainly dressed in dark colors, thin white muslin 
cap on her head, seated in a large rustic chair, represents the mother. A 
young girl, bright and beautiful, dressed in light muslin, a garden hat 
swinging on her arm, her hair long and unconfined, is standing beside 
the chair, and with her hand placed caressingly beneath her mother's 
chin, has lifted her face toward her own, and is looking gayly into her 
eyes. At a little distance stands little Effie, a child of eight or ten years 
old, in pretty but simple childish dress. 

(Reading to accompany Tableau J.) 
The May Queen. 

You must wake and call me early, call me early, mother 
dear ; 

To-morrow '11 be the happiest time of all the glad New 
Year ; 

Of all the glad New Year, mother, the maddest, mer- 
riest day ; 

For I'm to be Queen o' the May, mother, I'm to be 
Queen o' the May. 
62 



TABLEAUX. 63 

There's many a bright black eye, they say, but none so 
bright as mine ; 

There's Margaret and Mary, there's Kate and Caro- 
line; 

But none so fair as little Alice in all the land, they 
say, 

So I'm to be Queen o' the May, mother, I'm to te 
Queen o' the May. 

I sleep so sound all night, mother, that I shall never 
wake, 

If you do not call me loud when the day begins to 
break ; 

But I must gather knots of flowers, and buds and gar- 
lands gay, 

For I'm to be Queen o' the May, mother, I'm to be 
Queen o' the May. 

Little Effie shall go with me to-morrow to the green, 
And you'll be there, too, mother, to see me made the 

Queen ; 
For the shepherd lads on every side '11 come from far 

away, 
And I'm to be Queen o' the May, mother, I'm to be 

Queen o' the May. 

So you must wake and call me early, call me early, 

mother dear, 
To-morrow '11 be the happiest time of all the glad New 

Year. 
To-morrow '11 be of all the year the maddest, merriest 

day, 



64 TABLEAUX. 

For I'm to be Queen o' the May, mother, I'm to be 
Queen o' the May. 

Tableau II. 

A pale young girl, wearing a warm-looking invalid's wrapper, is re- 
clining in a large easy-chair, her hands clasped lightly. Her expression 
is very sad and far from resigned. She looks wearily to ward her mother, 
who stands with her hand on the back of the chair, gazing down at her, 
with sorrow and pity in her eyes. 

{Reading for Tableau II.) 

New Years Eve. 

If you're waking call me early, call me early, mother 

dear, 
For I would see the sun rise upon the glad New Year. 
It is the last New Year that I shall ever see, 
Then you may lay me low i' the mould, and think no 

more of me. 

Last May we made a crown of flowers ; we had a merry 

day; 
Beneath the hawthorn on the green they made me 

Queen of May; 
And we danced about the May-pole and in the hazel 

copse, 
Till Charles's Wain came out above the tall white 

chimney-tops. 

When the flowers come again, mother, beneath the 

waning light, 
You'll never see me more in the long gray fields at 

night ; 



TABLEAUX. 65 

When from the dry dark wold the summer airs blow 

cool 
On the oat-grass and the sword-grass and the bullrush 

in the pool. 

I have been wild and wayward, but you'll forgive me 

now, 
You'll kiss me, my own mother, and forgive me ere I 

go; 
Nay, nay, you must not weep, nor let your grief be 

wild, 
You should not fret for me, mother, you have another 

child. 

Good-night, sweet mother : call me before the day is 

born. 
All night I lie awake, but I fall asleep at morn ; 
But I would see the sun rise upon the glad New Year, 
So, if you're waking, call me, call me early, mother dear. 

Tableau III. 

The sick girl is reclining npon a lounge, dressed in a white wrapper, 
her head placed quite high upon pillows. The mother, seated in a chair 
at the head of the lounge, is bending oyer the invalid, and partially sup- 
porting her. The sick girl's eyes are looking far away, and a peaceful, 
happy expression is on her face. Little Erne stands near. 

(Reading for Tableau III.) 

Conclusion. 

I thought to pass away before, and yet alive I am ; 
And in the fields all round I hear the bleating of the 
lamb. 
5 



66 TABLEAUX. 

How sadly — I remember — rose the morning of the 

year; 
To die before the snow-drop came, and now the violet's 

here. 

It seemed so hard at first, mother, to leave the blessed 

sun, 
And now it seems as hard to stay, and yet His will be 

done ! 
But still I think it can't be long before I find release ; 
And that good man, the clergyman, has told me words 

of peace. 

Yes, now I think my time is near. I trust it is. I 

know 
The blessed music went that way my soul will have to 

go. 
And for myself, indeed, I care not if I go to-day. 
But Effie, you must comfort her when I am passed 

away. 

Oh ! sweet and strange it seems to me that ere this day 

is done 
The voice that now is speaking, may be beyond the 

sun — 
Forever and forever with those just souls and true — 
And what is life, that we should moan ? Why make 

we such ado? 

Forever and forever, all in a blessed home — 

And then to wait a little while till you and Effie come — 

To lie within the light of God, as I lie upon your 

breast — 
And the wicked cease from troubling, and the weary 

are at rest. 



TABLEAUX. 67 

THE GIPSY FORTUNE-TELLER 

IN THREE SCENES. 

{Each scene may be used as a separate Tableau, if desired.} 

SCENE I. 

A gypsy tent. It may be made of poles and covered 
with almost any material, white or dark Within 
i there should be a fire. A real one may be made on 
sheet iron, or a very good imitation is produced by pil- 
ing up a number of logs and placing lighted candles ii* 
the crevices, so that only the blaze is visible. Over the 
fire, suspended by a chain, is an iron pot and spoon. 
Just before the curtain rises a quantity of boiling water 
should be poured into the pot, so that the steam will be 
plainly visible. Stand two broken, backless chairs or 
stools at the entrance of the tent, and within there may 
be more chairs or stools, a heap of blankets, or anything 
giving a natural look of habitation. 

Crouching over the fire, in the act of stirring the pot, 
is an aged crone. Near her is an old cane or stick. 
Seated at the door of the tent is a young and very pretty 
gypsy girl. Her hair should be very long and dark, 
and worn over her shoulders. Her dress is very gay 
and fantastic. The old gypsy, on the contrary, is in 
a rather dilapidated condition, low shoes, very much 
worn, her dress somewhat ragged, and her hair covered 

with a red handkerchief. 

i 

SCENE II. 

Same as before. Enter to the left a young soldier in 
full uniform. "With a start he seems suddenly to dis- 
cover the girl, and exclaims : — 

A gypsy girl ! "Well I do vow, 
The Fates for once are kind. 



68 TABLEAUX. 

(To her.) My pretty girl can you tell me now, 
Shall I go home to find 
That my love is true and waiting for me? 

(She.) With silver cross my hand, 

And then in the lines of your palm I'll see 
The future you command. 

Sybil, leave us (to the crone). 

He crosses her hand with silver, and seats himself in 
the chair opposite her. She reads from his hand the 
following poem of Mrs. Hemans. (Adapted for the 
purpose.) 

(Making sign upon his hand.) 

I bind thee with a spell ; 
I sign thee with a sign ; 

(Reads from his palm.) 

No woman's love shall light on thee, 
No woman's heart be thine. 

And trust me, 'tis not that thy cheek 

Is colorless and cold, 
Nor that thine eye is slow to speak 

What only eyes have told ; 
For many a cheek of paler white 

Hath blushed with passion's kiss, 
And many an eye of lesser ligh 

Hath caught its fire from bliss ; 
Yet, while the rivers seek the sea, 

And while the young stars shine, 
No woman's love shall light on thee, 

No woman's heart be thine. 



TABLEAUX. 69 

And 'tis not that thy spirit, awed 

By beauty's numbing spell, 
Shrinks from the force or from the fraud. 

Which beauty loves so well ; 
For thou hast learned to watch and wake, 

And swear by earth and sky, 
And thou art very bold to take 

What we must still deny ; 
I cannot tell ; the charm was wrought 

By other threads than mine ; 
The lips are lightly begged or bought, 

The heart may not be thine ! 

Yet thine the brightest smile shall be 

That ever beauty wore, 
And confidence from two or three, 

And compliments from more ; 
And one shall give, perchance hath given, 

What only is not love — 
Friendship, O, such as saints in heaven 

Rain on us from above. 
If she shall meet thee in the bower, 

Or name thee in the shrine, 
O, wear the ring, and guard the flower — 

Her heart may not be thine. 

[Both rise.'] 

Go set thy boat before the blast, 

Thy breast before the gun, 
The haven shall be reached at last, 

The battle shall be won ; 
Or muse upon thy country's laws, 

Or strike thy country's lute, 
Aud patriot hands shall sound applause 



70 TABLEAUX. 

And lovely lips be mute ; 
Go, dig the diamond from the wave, 

The treasure from the mine, 
Enjoy the wreath, the gold, the grave, 

No woman's heart is thine ! 

I charm thee from the agony 

Which others feel or feign ; 
From anger and from jealousy, 

From doubt and from disdain ; 
I bid thee wear the scorn of years 

Upon the cheek of youth, 
And curl the lip at passion's tears, 

And shake the head at truth : 
"While there is bliss in revelry, 

Forgetfulness in wine, 
Be thou from woman's love as free 

As woman is from thine. 

SCENE III. 

A room rudely furnished. To the right of the stage 
is seated an old fisherman with his nets on the floor be- 
side him. To his left is seated his wife in plain dress, 
with large white cap and apron. She has sewing in 
her lap, and he is in the act of threading her needle. To 
the left of the old lady, but somewhat out of the direct 
line, is a small divan or sofa. A young lady and gentle- 
man are seated upon it, the lady considerably in front, 
so as to hide him as much as possible. The gentleman 
is in the act of kissing her hand. She holds it toward 
him, but points warningly to the old couple. While 
the old lady is seemingly as intent upon the threading 
of the needle as her husband, she is looking slyly over 



TABLEAUX. 71 

at the pair on the sofa. Great care snould be taken to 
get the expression correctly. 

Coming in at the door is the same young soldier, with 
a look of dark jealousy upon his face. 

It is well to vary the complexions of the gentlemen. 
Let the soldier be a very dark brunette. 



LITTLE GRETCHEN. 

[An illustrated story.] 

{Reading.) 

Little Gretchen, little Gretchen, 

Wanders up and down the street ; 
The snow is on her yellow hair, 

The frost is at her feet. 
The rows of long, dark houses 

Without, look cold and damp, 
By the struggling of the moonbeam, 

By the flicker of the lamp. 

The clouds ride fast as horses, 

The wind is from the north, 
But no one cares for Gretchen, 

And no one looketh forth. 
Within those dark, damp houses 

Are merry faces bright, 
And happy hearts are watching out 

The old year's latest night. 

With the little box of matches 
She could not sell all day, 

And the thin, thin tattered mantle 
The wind blows every way, 



72 TABLEAUX. 

She elingeth to the railing, 

She shivers in the gloom. 
There are parents sitting snugly 

By firelight, in the room ; 

And children with grave faces 

Are whispering one another 
Of presents for the New Year, 

For father or for mother. 
But no one talks to Gretchen, 

And no one hears her speak, 
No breath of little whispers 

Comes warmly to her cheek. 

[Curtain rises to show tableau.'] 

A street scene. Cotton may be scattered around to represent snow. A 
little girl, in scanty clothing, worn-out shoes, tattered shawl, and old 
hood, is leaning against a wall, as if for protection against the wind. Her 
basket of matches is strapped across her shoulder, and hangs by her side. 

(After a few minutes the curtain .%lls, and the reading is resumed.) 

Her home is cold and desolate ; 

No smile, no food, no fire, 
But children clamorous for bread, 

And an impatient sire. 
So she sits down in an angle 

Where two great houses meet, 
And she curleth up beneath her, 

For warmth, her little feet ; 

And she looketh on the cold wall, 

And on the colder sky, 
And wonders if the little stars 

Are bright fires up on high. 
She hears a clock strike slowly 

Up in a far church tower, 



TABLEAUX. 73 

With such a sad and solemn tone, 
Telling the midnight hour. 

As the curtain rises, a bell may be struck twelve times. The second 
tableau reveals the little girl crouched down on the floor with her feet 
curled up under her, and her eyes looking upward. While this tableau 
is being shown the following stanzas may be read : 

And she remembers her of tales 

Her mother used to tell, 
And of the cradle-songs she sang, 

When summer twilight fell ; 
Of good men and of angels, 

And of the Holy Child, 
Who was cradled in a manger, 

When winter was most wild ; 

Who was poor and cold and hungry, 

And desolate and loue ; 
And she thought of how the song had told 

He was ever with His own. 
And all the poor and hungry, 

And forsaken ones are His — 
" How good of Him to look on me, 

In such a place as this." 

[Curtain falls.'} 

{Reading.') 

Colder it grows and colder, 

But she does not feel it now, 
For the heavy pressure at her heart, 

And the weight upon her brow ; 
But she softly struck one little match 

On the wall so cold and bare, 



74 TABLEAUX. 

That she might look around her 
And see if He were there. 

The single match has kindled 

And by the light it threw, 
It seemed to little Gretchen 

The wall was rent in two ; 
And she could see folks seated 

At a table richly spread 
With heaps of goodly viands, 

Red wine and pleasant bread. 

Tableau. 

A table handsomely spread, at which are seated several persons (among 
them some children) in the act of eating. One holds a cup to his mouth, 
another holds knife and fork as if cutting meat, etc., etc. 

(During the tableau the reading continues.) 

She could smell the fragrant savor, 

She could hear what they did say, 
Then all was darkness once again, 

The match had burned away. 
[Curtain falls.~\ 
She struck another hastily, 

And now she seemed to see 
Within the same warm chamber, 

A glorious Christmas tree ; 
The branches were all laden 

With things that children prize, 
Bright gifts for boy and maiden, 

She saw them with glad eyes. 
And she almost seemed to touch them, 

And to join the welcome shout, 
When the darkness fell around her, 

For the little match was out. 



TABLEAUX, 75 



Tableau. 

The table of preceding tableau still standing. Near it is a handsome 
Christmas tree, around which several little children stand, with merry, 
happy faces. 

(Reading is resumed after the curtain falls on this 
tableau.) 

Another, yet another, 

She has struck ; they will not light, 
Till all her little store she took 

And struck with all her might, 
And the whole, dreary, wretched place 

Was lighted with the glare, 
And she dreamed there stood a little child 

Before her in the air. 

And he pointed to the laden board, 

And to the Christmas tree, 
Then up to the cold sky, and said : 

" Will Gretchen come with me ?" 
And she folded both her thin white hands 

And turned from that bright board, 

And from the golden gifts, and said : 

" With Thee, with Thee, O Lord!" 
i 

In her scanty, tattered garments, 

Lying prone upon the ground, 
In the chilly winter morning, 

The little girl was found. 
They lifted her up tenderly, 

They shuddered as they said : 
" It was a bitter, bitter night. 

The child is frozen dead." 



76 TABLEAUX. 



Tableau. 

A lady, dressed in winter costume, kneels beside Gretchen, whose head 
rests upon her lap. A man stands bending over the child as if to lift her 
up. Two or three other persons, at a little distance, are gazing at the 
scene. 



LIFTING THE VEIL. 

A Reading Illustrated by Tableaux. 

O Time ! kind Time, you've brought thus far 

Full many gifts to me ; 
And yet my heart is not content ; 

I would the future see. 

Of coming ill let me be warned, 

Of future joy be told, 
A look into my coming life 

Do not, O Time ! withhold. 

Now, for a brief space draw aside 
The veil which hides from view 

The scene which next I enter on. 
Grant this, I beg of you. 

Ah ! yes ; I see you grant my wish, 

Although you gravely scan 
My face, and whisper earnestly, 

" This is not Nature's plan !" 

The curtain moves. Soon I shall know 

What I have tried to guess. 
Be still, my throbbing heart, and learn 

Thy future blessedness. 



TABLEAUX. 77 

Tableau I. 

A young girl, dressed in white, is seated facing the audience. She has 
loose flowers in her lap, and a pink rose, at which she seems to be look- 
ing, is held in her right hand. A young man stands at her left side, with 
his side-face to the audience. He holds her left hand in both of his, and 
he is gazing earnestly at her face. 

Lo ! this is what is planned for me, 

This joy — which many miss, 
To truly love and be beloved ! 

I've dreamed, sometimes, of this. 
(Curtain falls.') 

But let me see, oh! let me see, 

If we in truth are wed ! 
I'd gaze again on him and me 

While mutual vows are said. 

Tableau II. 

This is a wedding scene. Couple in bridal attire ; the gentleman clasps 
the lady's right hand. Just back of the bride stands her bridesmaid. 
Beside the gentleman stands his groomsman. Several guests are standing 
near. 

(The " Wedding March" may be played while this tab- 
leau is shown.) 

(Curtain falls.) 

Two happy scenes ! No need as yet, 

O Time ! for mortal fears, 
Draw back the curtain once again, 

Disclose more coming years. 

Tableau III. 

Domestic scene. Covered table in middle of platform; books and 
papers scattered on it, lamp in the middle. Lady at one sideOf table 
with fancy work in hand. Gentleman at other side of table apparently 
reading aloud from book or paper. Two little children in view, busy 
with books and games. 



78 TABLEAUX. 

And still my joyous life moves on ! 

'Twas surely well to ask. 
So know my joy. Nay, Time, grieve not 

O'er such a pleasant task. 

(Curtain falls.) 

Now let me look on changes all 

Which come and go to me; 
I am so happy still, that naught 

Of ill can I foresee. 

Tableau IV. 

Lady dressed in mourning ; face buried in hands. One child stands 
on right side with arm around her neck ; the other at her knee looking 
up at her hidden face. 

What is this picture that I see ? 

Has trouble come to me, 
That thus my little children stand 

In sorrowing sympathy ? 

What was your whisper sad and low ? 

What were the words you said ? 
My mother ! Oh ! I cannot think 

My mother, dear, is dead ! 

Oh ! veil the scene ! nor let me see 

Myself so bowed with woe. 
How can I ever, ever feel 

More happiness below ? 

(Curtain falls.) 
Is grief so very near to joy ? 

Can joy live after pain ? 
And yet, methinks, I hear you say, 

Time soothes the heart again. 



TABLEAUX. 79 

Once more the curtain moves. I fear, 

I dread to gaze again. 
It may be that a view as sad 

Will fill my heart with pain. 

Tableau V. 

A middle-aged lady is seated in a low easy- chair, smiling at a young 
man in front of her who is showing an unrolled diploma. At her side 
stands a young lady, who has her arm passed lovingly across her mother's 
shoulder, while she looks proudly at her brother. Near the group stands 
the father, a middle-aged man. His hat is held in his hand, and a light 
overcoat is thrown across his arm. 

I have been comforted by Time ; 

I see my peace returns ; 
And after many weary sighs 

The heart its lessons learns. 
(Curtain falk.') 
And must I look yet once again ? 

Ah ! yes ; I willed it so, 
Impatient for the happy scenes, 

I dared the whole to know. 

Tableau VI. 

An old lady sits alone. She is dressed in mourning, wearing a widow's 
cap. She holds some knitting- work in her partly uplifted hands. Her 
head rests on the back of a chair standing beside her, and she gazes into 
the distance. 

A widow's cap, a vacant home ! 

A new and awful phase ! 
And now I sit alone and wait 

The ending of my days. 

{Curtain falls.') 
I've seen my coming life portrayed. 

I've naught unknown to dread ; 
But neither have I aught to hope ; 

Both hope and fear are dead. 



80 TABLEAUX. 

Oh ! better far is Nature's plan, 
To veil our future years, 

And day by day renew our strength, 
To bear life's joys or tears. 



THE BEGGAR-MAID AND KING COPHETUA. 

[From Tennyson.] 

Her arms across her breast she laid : 

She was more fair than words can say ; 
Barefooted came the beggar-maid 

Before the king Cophetua. 
In robe and crown the king stept down 

To meet and greet her on the way ; 
" It is no wonder," said the lords, 
" She is more beautiful than day." 
As shines the moon in clouded skies, 

She in her poor attire was seen ; 
One praised her ankles, one her eyes ; 

One her dark hair and lovesome mien. 
So sweet a face, such angel grace, 

In all that land had never been ; 
Cophetua sware a royal oath : 
" This beggar-maid shall be my queen." 

Tableau. 

A young girl, beautiful in face and figure, represents the beggar-maid. 
She wears a plain, dark gown, made loose from shoulders to feet, but 
confined at the waist by a cord. Very wide loose sleeves fall back to dis- 
close her arms, and the neck of the dress is left open in front in a V- 
shape. Her hair hangs lo ose. 

Cophetua is represented by a tall, fine-looking young man. He wears 
drapery of scarlet or purple, arranged loosely about him. He appears to 
be drawing the beggar-maid toward him with one hand, while in his 
other he holds a crown (made of pasteboard, covered with gilt paper) 
above her head, as if about to crown her with it. 



TABLEAUX. 81 

THE PARSON'S FEE; OR, THE BAG OF 
BEANS. 

CHARACTERS AND COSTUMES. 

Young Man and Maiden.— Each in dress of a country Tustic , complex- 
ions ruddy and healthful. 
Parson.— In suit of black, plain and somewhat worn. 

THE TABLEAU. 

Parson seated near a table containing books and 
writing materials, gazing with a surprised and pleased 
look upon the maiden, who has dumped upon the floor 
what may be supposed to be a bag of beans, as a fee for 
the marriage ceremony. The young man stands at the 
left, a little in the rear, looking on with a boorish, bash- 
ful air ; face of the girl, bashful, but happy. 

Music, if any, lively. 

The following poem should be read to the audience 
just previous to the production of the tableau, 

WEDDING FEE. 

One morning, fifty years ago — 

When apple trees were white with snow 

Of fragrant blossoms, and the air 

Was spell-bound with the perfume rare — 

Upon a farm horse, large and lean, 

And lazy with its double load, 

A sun-brown youth and maid were seen 

Jogging along the winding road. 

Blue were the arches of the skies, 

But bluer were that maiden's eyes ! 

The dew-drops on the grass were bright, 

But brighter was the loving light 

That sparkled 'neath each long-fringed lid 

Where those bright eyes of blue were hid ; 



82 



TABLEAUX. 



Adown the shoulders, brown and bare, 
Rolled the soft waves of golden hair, 
Where, almost strangled with the spray, 
The sun, a willing sufferer, lay. 

It was the fairest sight, I ween, 
That the young man had ever seen ; 
And with his features all aglow, 
The happy fellow told her so, 
And she, without the least surprise, 
Looked on him with those heavenly eyea— 
Saw underneath that shade of tan 
The handsome features of a man. 
She drew that dear face to her own, 
And with a joy but rarely known, 
And by that bridal bonnet hid — 
I cannot tell you what she did. 

So on they ride, until among 

The new-born leaves with dew-drops hung^ 

The parsonage, arrayed in white, 

Peers out — a more than welcome sight* 

Then, with a cloud upon his face, 

" What shall we do ?" he turned to say, 

" Should he refuse to take his pay 
From what is in the pillow-case ?" 
And glancing down his eyes surveyed 
The pillow-case, before him laid, 
Whose contents, reaching to its hem, 
Might purchase endless joys for them. 

The maiden answers : " Let us wait ; 
To borrow trouble where's the need Y 9 
Then at the parson's squeaking gate 
Halted the more than willing steed. 



TABLEAUX. 

Down from his horse the bridegroom sprung ; 

The latchless gate behind him swung ; 

The knocker of that startled door, 

Struck as it never was before, 

Brought the whole household, pale with fright, 

And there, with blushes on his cheek, 

So bashful he could hardly speak, 

The farmer met their wondering sight. 

The groom goes in, his errand tells, 
Aud as the parson nods, he leans 
Far out the window-sill and yells — 
M Come in. He says he'll take the beans ! ?3 
Oh! how she jumped! With one glad bound 
She and the bean-bag reached the ground. 

Then, clasping with each dimpled arm 
The precious product of the farm, 
She bears it through the open door, 
And down upon the parlor floor 
Dumps the best beans vines ever bore. 

Ah ! happy were their songs that day, 
When man and wife they rode away ; 
But happier this chorus still 
Which echoed through those woodland scenes: 
" God bless the priest of Watsonville ! 
God bless the man who took the beans I" 



S3 



84 TABLEAUX. 



DISCONTENTMENT. 

TABLEAU. 

[Two little girls, eight or ten years old, should b*> 
placed at each end of the stage. Dress one for dish- 
washing, with a very large apron, and give her a towel 
and a plate, while other dishes stand on a table before 
her. She should look very sober, and say, monoto- 
nously] — 

" When I work in the house I always say, 
How I'd like to toil out of doors all day !" 
[The little girl at the other end of the stage should be 
dressed for garden work, with fingerless gloves, and a 
very large hat. She should be surrounded by plants 
and have a hoe and rake in reach, and a trowel in her 
hand. She should say, in the same tone of voice as the 
other girl] — 

"And when they send me to weed the flowers 
The day seems made of a hundred hours.' 1 

THE DUDE. 

Tall, slender person, dressed in very close-fitting pantaloons and coat; stand- 
ing collar or piccadilly ; eye-glass to one eye, attached by string to buttonhole of 
coat; cigarette daintily held in one hand; cane fastidiously held in the other; 
Derby hat; tight shoes with pointed toes, and very close-fitting gloves; arms 
held outward. A second person in common-sense attire should walk about the 
dude surveying him with wonder and curiosity and reciting the following poem, 
excepting the last stanza, when the dude expresses himself: 

Tell me, O paradox inscrutable ! 
With features rigid and immutable, 
How shall I find for thee a suitable 
Cognomen ? 



TABLEAUX. 85 

With elbows bent and slightly elevate, 
With fingers willowy and invertebrate, 
As through the street thou dost perambulate, 
What art thou ? 

That hat with curliest of curly brims, 
Those gorgeous eye-glasses with golden rims, 
That painful springhalt in thy lower limb ; 
What m6an they ? 

That visage vacuous, that stony stare, 
That fearful and wonderfully banged hair, 
That very haughty and disdainful air, 
Whence they come ? 

Archetype art thou of the toys of Crandall, 
With rivet joints and with wooden handle, 
Turned loose upon the town by some rude Vandal, 
Or art thou not ? 

Or hast thou left some wax-work exhibition 
In a bereaved and comfortless condition, 
Because the niche where once thou took'st position 
Is vacant ? 

A model from the region of old clo'ses, 
Stiff with loug standing in the halls of Moses 
In tiresome and uncomfortable poses ? 
Or if not, what ? 

" Excuse me — er — Did you — er — speak to me ? 
Ah ! weally, now ; how jolly ! Ah ! dea me ; 
Who am I ? er— Why, dea me, don't you see ? 
I am a dude." 



86 TABLEAUX. 



TABLEAUX FEOM HIAWATHA, WITH 
READINGS. 



BEAUTIFUL tableaux may be made from Longfel- 
low's Hiawatha, introducing each picture with a 
reading descriptive of character and scene. A few are 
here mentioned, to which others may be added if de- 
sired : 

PAET I. 

INFANCY AND CHILDHOOD. 

Headings from Book III. 

1st Reading. — Part relating to the Indian's home. 
Tableau — The Wigwam of Nokomis. 

2d Reading. — Parts relating to the care of Hiawatha by 

Old Nokomis. 
Tableau — Hiawatha's infancy. (Rocked in cradle by 
Nokomis.) 

3d Reading. — Parts relating to the making of the bow 
and arrow by Iagoo, and the walk of Hiawatha in 
search of game. 

Tableau — Hiawatha's Hunting. 

4th Reading. — The concealment in the alder bushes. 
Tableau — The Ambush. 

5th Reading. — Part relating to the shooting of deer. 
Tableau— The Fatal Shot. 

fith Reading. — Part relating to the return and welcome 
home. 

Tableau — The Hunter's Return. 



TABLEAUX. 87 

PART II. 

THE WOOING. 

Readings from Book X. 
1st Reading. — Counsel and warnings of Nokomis. 
Tableau — Sage Advice. 

2d Reading. — The Arrow-maker's home and description 
of the Arrow-maker and his daughter. 

Tableau — Tent of the Arrow-maker. 

3d Reading. — The arrival of Hiawatha. 

Tableau — The Lover's Advent. 

4th Reading. — Hiawatha's entreaty for the hand of 
Minnehaha. 

Tableau — The Lover's Appeal. 

5th Reading. — The departure of Hiawatha and Minne- 
haha and the reflections of the Arrow-maker. 
Tableau — The Departure of the Lovers. 

6th Reading. — The journey homeward and arrival at 
lodge of Nokomis. 

Tableau — The Arrival Home. 

PART III. 

THE FAMINE. 

Readings from Booh XX. 
1st Reading. — The general devastation caused by famine 
and fever and their appearance in the wigwam. 
Tableau — The Approach of Famine and Fever. 

2d Reading. — Hiawatha's unsuccessful search for food 
and his prayer. 

Tableau — The Husband's Prayer. 



#8 TABLEAUX. 

3d Beading. — Last words of Minnehaha and her call to 
Hiawatha. 

Tableau — The Death Scene. 

4th Beading. — The return of Hiawatha and his expres 
sions of grief. 

Tableau — The Husband's Lament. 

5th Beading. — The burial, the lighting of the fire, and 
the farewell. 

Tableau — The Husband's Farewell. 

With appropriate costume and scenery, which can be 
secured with little expense, the above named pictures 
can be made very beautiful. Attention should also be 
given to the proper effect of light. Harmless prepara- 
tions for different colored lights with instructions as to 
their use can be purchased of the druggist at a nominal 
sum. 

Suitable music will also add greatly to the fuller 
enjoyment of the pictures. 



THE ANGEL'S WHISPEB. 

{Beading and Tableaux,') 

A baby was sleeping ; 

Its mother was weeping ; 
For her husband was far on the wild, raging sea ; 

And the tempest was swelling 

Bound the fisherman's dwelling ; 
And she cried, " Dermot, darling, oh! come back to me!" 

Her beads while she numbered, 
The baby still slumbered, 
And smiled in her face as she bended her knee, 



TABLEAUX. 89 

" Oh ! blest be that warning, 

Thy slumber adorning, 
For I know that the angels are whispering with thee ! 

" And while they are keeping 

Bright watch o'er thy sleeping, 
Oh ! pray to them softly, my baby, with me ! 

And say thou wouldst rather 

They'd watch o'er thy father ! 
For I know that the angels are whispering to thee." 

Tableau I. 

A woman, plainly dressed, is kneeling beside a cradle. In one hand 
she holds a rosary ; the other rests lightly upon the side of the cradle. 
Her face is slightly upturned, and wears an earnest expression. 

The dawn of the morning 

Saw Dermot returning, 
And the wife wept with joy her babe's father to see ; 

And closely caressing 

Her child with a blessing, 
Said, " I knew that the angels were whispering with thee." 

Tableau II. 

A man, in sailor's garb, has entered, and the woman, with glad looks, 
both her hands clasping one of his, appears to be drawing him toward 
the cradle. His other hand rests upon her shoulder, and he looks lov- 
ingly down into her face. 



"SONG OF THE SHIRT. 5 

(Reading.} 

Work — work — work ! 

From weary chime to chime;' 



90 TABLEAUX. 

Work — work — work ! 

As prisoners work for crime ! 
Band, and gusset, and seam, 

Seam, and gusset, and band, 
Till the heart is sick and the brain benumb'd, 

As well as the weary hand ! 

Work — work — work ! 

Till the brain begins to swim ; 
Work — work — work ! 

Till the eyes are heavy and dim ! 
Seam, and gusset, and band, 

Band, and gusset, and seam, 
Till over the buttons I fall asleep, 

And sew them on in my dream ! 

Tableau. 

A middle-aged woman and her fair young daughter, dressed in ex- 
tremely plain, dark dresses, are seated on wooden chairs in a dismal, 
dreary-looking room. A small, uncovered wooden table, on which is a 
lighted lamp, completes the furniture of the room. The mother is en- 
gaged at her sewing, her needle poised for a stitch. The daughter is 
asleep, her head laid on her arm, which rests on the table. Her long, 
fair hair is loose, making a veil about her shoulders. Both mother and 
daughter are pale and weary looking. 

Artificial means maybe used to make the faces pale with dark shadows 
about the eyes. 



THE HEROISM OF ELIZABETH ZANE. 

{Reading.) 

During the Revolutionary War, Fort Henry, an 
American border outpost, was suddenly attacked by a 
band of Indians, under the leadership of a noted Tory. 
The Indians numbered about five hundred, while the 



TABLEAUX. 91 

garrison of the fort numbered but forty-two, and of 
these, thirty were caught in an ambush outside of the 
fort and slain early in the siege. But twelve men were 
left to hold the fort. These fought bravely to protect 
their wives and children, but soon their small stock of 
powder in the fort was almost exhausted, and but a few 
charges remained to each man. Some sixty yards out- 
side the fort stood a house which had not yet been ap- 
proached by the Indians. The Colonel knew that in 
that house there was a keg of gunpowder, but he had 
not the heart to order any man to go to almost certain 
death in an attempt to get the powder. But it was the 
only hope, so, at length, he stated the case. Several 
young men volunteered, but only one could be spared. 
While they were generously disputing among themselves 
for the perilous errand, Elizabeth Zane, a girl of seven- 
teen, came to the Colonel and begged that she might be 
allowed to go. " I can be better spared than one of the 
men, should the errand fail," she insisted, and at length, 
despite their expostulations, she gained her point. When 
all was ready the gate was opened, and Elizabeth walked 
rapidly across the open space toward the house where 
the powder was stored. The Indians watched her curi- 
ously, but did not interfere with her. She reached the 
house, secured the keg in a table-cloth tied around her 
waist, and started back. But now the Indians suspected 
her errand, and as she flew swiftly along a shower of 
bullets and arrows were sent after her. But not one 
touched her. Unharmed she passed through the deadly 
fire, and bore her prize in triumph inside the gate. The 
little garrison, with this addition to their ammunition, 
was enabled to hold out until relief came, and thus a 
girl's courage saved the fort. 



92 TABLEAUX. 



Tableau. 

A young girl with flowing hair, dressed in plain gray dress, cut square 
neck, and with elbow sleeves. A white cloth tied round her waist, the 
ends gathered tightly in her left hand, is distended as with a keg of pow- 
der. She is looking back over her left shoulder, with wide, frightened 
eyes, but a resolute look about her mouth. Her body is bent slightly 
forward, and her feet are in the posture of rapid walking. 



"THE COTTER'S SATURDAY NIGHT." 



I. — READING. 

The toil-worn cotter frae his labor goes, 

This night his weekly moil is at an end ; 
Collects his spades, his mattocks, and his hoes, 

Hoping the mora in ease and rest to spend, 
And, weary, o'er the moor his course does homeward bend. 

The expecting wee things, t;>ddlin\ stacher through 
To meet their dad, wi' flichterin' noise and glee. 

TABLEAU. 

Central figure, a man in common clothes, with little 
one on his shoulder, holding it on with one hand. The 
other hand clasps a small girl, looking up into her father's 
face. On the other side of the man is a larger boy drag- 
ging a spade and carrying a hoe, etc., over his shoulder. 
A happy expression on all the faces. 

II. — READING. 

Belyve the elder bairns come drapping in 

At service out, among the farmers roun* ; 
Some ca' the pleugh, some herd, some tentie rin 

A canny errand to a neibor town ; 
Their eldest hope, their Jennie, woman-grown, 

In youthfu' bloom, love sparkling in her ee, 
Comes name, perhaps to show a bran new gown, 

Or deposit her sair-won penny-fee, 
To help her parents dear, if they in hardship be. 

The mother, wi' her needle and her shears, 

Gars auld claes look amaist as well 's the neif« 
The father mixes a* wi' admonition due* 



TABLEAUX. 93 

TABLEAU. 

Mother, with needle and shears, is making over old 
elothes. The three small children who were in the 
tableau sit playing together. The three boys at service 
wear coarse clothes. Jenny, " woman-grown," is showing 
her mother a "bran new gown." Father, with infant on 
his knee, is apparently advising the boys. All seem to 
be enjoying themselves. 

III. — READING. 

But hark ! a rap comes gently to the door, 
Jenny, wha kens the meaning o' the same, 

Tells how a neighbor lad cam o'er the moor, 
To d some errands, and convoy her hame; 

The wily mother sees the conscious flame 
Sparkle in Jenny's ee, and flush her cheek. 

Wi' kindly welcome, Jenny brings him ben; 
A strappin* youth, he takes the mother's eye. 

TABLEAU. 

Same as second, only Jenny brings in a strapping 
youth, bashful aud grave. Mother looks rather pleased. 
All eyes are fastened on "youth." The three little ones, 
half hiding behind each other, hit one another, and laugh 
unseen by elders. 

IV. — READING. 

But now the supper crowns their simple board. 

The halesome parritch, chief of Scotia's food; 
The soupe their only hawkie does afford, 

That 'yont the hallan snugly chows her c«od. 

TABLEAU. 

All seated round a table on which is a huge dish of 
porridge, a big pitcher of milk, and some cheese. Each 
has a bowl and spoon. Father sits opposite mother, 
Jenny side of mother, and "youth" side of Jenny. A 
cheerrul supper-scene. Mother is pressing "youth" to 
have some cheese. 



94 TABLEAUX. 

V. — READING. 

The cheerfu' supper done, wi' serious face, 

They, round the ingle, form a circle wide; 
The sire turns o'er wi' patriarchal grace, 

The big ha' Bible, ance his father's pride j 
He wales a portion with judicious care, 

And " Let us worship God," he says, with solemn air. 
They chant their artless notes in simple guise; 

They tune their hearts, by far the noblest aim, 
Perhaps ** Dundee's" wild-warbling measures rise, 

Or plaintive •• Martyr's," worthy of the name. 

[If thought best, read the rest of this stanza and tfat 
next two of the poem. It is found complete in any col- 
lection of Burns' poems.] 

TABLEAU. 

All sit in a wide circle, father, with a large Bible, 
others listen attentively. It will add to the impressive* 
ness for a stanza of " Dundee " to be sung. 

VI. — READING. 

Then kneeling down, to Heaven's Eternal King, 

The saint, the father, and the husband prays; 
Hope " springs exulting on triumphant wing" 

That thus they all shall meet in future days;— 

There ever bask in uncreated rays, 
No more to sigh, or shed the bitter tear; 

Together hymning their Creator's praise 
In such society, yet still more dear, 

While circling time moves round in an eternal sphere. 
Compared with this, how poor religion's pride 

In all the pomp of method and of art, 
Where men displny to congregations wide 

Devotion's every grace, except the heart. 

TABLEAU. 

All are kneeling ; father, with clasped hands and up- 
lifted head, prays ; the heads of the rest are bowed. 

[Much of the beauty of these tableaux depends on the 
grouping. If possible, have all dressed in Scotch cos- 
tume. Red light thrown on the. first four tableaux, and 
red, white, and blue on the last two, add much to the 
effect! Euhns 



TABLEAUX. 95 

IN SCHOOL DAYS. 

SCENE I. 

A boy ten or twelve years old, coat and hat on, trousers turned up above 
the ankles, books and slate under his arm, left hand in his pocket. A 
look of shame is on his face, and his eyes are cast down. By his side a 
little girl in hood and cloak, apron showing below the cloak, carrying a 
school-satchel. Her right hand is laid caressingly on his shoulder, the 
left is nervously fingering her apron. A look of loving pity marks her 
countenance. 

(Reading.*) 

He saw her lift her eyes ; he felt 
The soft hand's light caressing, 

And heard the tremble of her voice 
As if a fault confessing. 

" I'm sorry that I spelt the word ; 
I hate to go above you, 
Because " — the brown eyes lower fell — 
" Because, you see, I love you." 

SCENE II. 

An old man, wrapped in deep thought, seated in an arm-chair, one 
hand supporting his head, his elbow resting upon a table. 

{Reading.) 

Still memory to a gray-haired man 
That sweet child-face is showing : 

Dear girl ! the grasses on her grave 
Have forty years been growing ! 

He lives to learn in life's hard school 

How few who pass above him 
Lament their triumph and his loss, 

Like her, because they love him. 



TABLEAUX. 



WHERE ARE YOU GOING? 

A Reading— Illustrated by two Tableaux. 

Tableau I, 

A young man, dressed in knee-breeches, black hose, black velvet coat, 
lace raffles at his wrists, a broad-brimmed soft hat, with long ostrich 
plume. A young girl, dressed in simple muslin gown, sleeves rolled 
above the elbows, a coquettish apron, sun-bonnet or broad-brimmed hat 
pushed back from the head and hanging by its strings around her neck. 
A milking-pail hung on her arm, and a milking-stool in her hand. The 
young man, at a little distance from the girl, is bending toward her, 
touching his hat with one hand, one foot a little extended, as if to ap- 
proach nearer. The girl is pictured in the act of making a courtesy, hold- 
ing out the side of her dress in old-time rural fashion. 

{Reading?) 

" Where are you going, my pretty maid ?" 
" I'm going a-milking, sir," she said. 

" May I go with you, my pretty maid ?" 
" You're kindly welcome, sir," she said. 

" What is your father, my pretty maid?" 
" My father's a farmer, sir," she said. 

" What is your fortune, my pretty maid ?" 
" My face is my fortune, sir," she said. 

Tableau II. 

Same characters and dress. The young man is standing erect, with 
arms folded, and with a frowning face. The young girl has set down her 
pail, and is standing with her hands upon her hips and arms akimbo. 
She has a look of scornful indignation on her face, which is partly turned 
away from him. 

(Reading.} 

" Then I can't marry you, my pretty maid !" 
" Nobody axed you to," she said. 



TABLEAUX. 97 

BLUEBEAED. 

(Reading to accompany Tableau J.) 

Centuries since there flourished a man, 
A cruel old Tartar as rich as the Khan ; 
Whose castle was built on a splendid plan, 

With gardens, and groves, and plantations ; 
But his shaggy beard was as blue as the sky, 
And he lived alone, for his neighbors were shy, 
And had heard hard stories, by the by, 

About his domestic relations. 

Tableau I. 

Bluebeard is represented by a tall, stout man, dressed in semi-military 
garb, high boots, sash, and sword, long circular cloak thrown open from 
the shoulders, and a turban of gay colors wound about his head. If a 
regular set of long false whiskers cannot be readily obtained, his beard 
can be made of gray cotton- wadding, colored a dull blue with chalk 
crayon, sewed fast to a piece of muslin fitted upon the face and tied 
around the head. The wadding can be torn up in slits toward the mus- 
lin to give it a shaggy appearance. He is seated in a large chair, a small 
table standing near, and appears to be in deep thought. 

(Beading between Tableaux I and II.) 

Just on the opposite side of the plain 

A widow abode with her daughters twain ; 

And one of them — neither cross nor vain — 

Was a beautiful little treasure ; 
So he sent them an invitation to tea, 
And having a natural wish to see 
His wonderful castle and gardens, all three 

Said they'd do themselves the pleasure. 

As soon as there happened a pleasant day, 
They dressed themselves in a sumptuous way, 
And rode to the castle as proud and gay 
7 



98 TABLEAUX. 

As silks and jewels could make them ; 
And they were received in the finest style, 
And saw everything that was worth their while, 
In the halls of Bluebeard's grand old pile, 

Where he was so kind as to take them. 

The ladies were all enchanted quite, 
For they found old Bluebeard so polite, 
That they did not suffer at all from fright, 

And frequently called thereafter ; 
Then he offered to marry the younger one, 
And as she was willing, the thing was done, 
And celebrated by all the ton 

With feasting and with laughter. 

As kind a husband as ever was seen, 
Was Bluebeard then for a month, I ween ; 
And she was as proud as any queen, 
And as happy as she could be, too. 

(Reading to accompany Tableau II.') 

But her husband called her to him one day, 
And said, " My dear, I am going away ; 
It will not be long that I shall stay ; 

There is business for me to see to. 
The keys of my castle I leave with you, 
But if you value my love, be true, 
And forbear to enter the Chamber of Blue! 

Farewell, Fatima ! Kemember !" 

Tableau II. 

Bluebeard and his wife are seen. Bluebeard is dressed as in Scene I. 
Fatima wears a bright-colored robe, made simply, skirt and waist in one, 
loosely confined at the waist by a girdle. (The dress should not appear 



TABLEAUX. 99 

too modern.) Bluebeard stands with one hand upon Fatima' s shoulder ; 
the other hand, holding a bunch of keys, is raised with the forefinger 
extended, as in admonition. Fatima, with her face partly turned toward 
him and a little uplifted, appears to be listening attentively to his 
warning. 

{Reading between Tableaux II and III) 

Fatima promised him ; then she ran 
To visit the rooms with her sister Ann ; 
But when she had finished the tour, she began 
To think about the Blue Chamber. 

Well, the woman was curiously inclined, 
So she left her sister and prudence behind 
(With a little excuse), and started to find 

The mystery forbidden. 
She paused at the door ; all was still as night ! 
She opened it ; then through the dim blue light 
There blistered her vision the horrible sight 

That was in that chamber hidden. 

{Beading to accompany Tableau III) 

The room was gloomy, and damp, and wide, 
And the floor was red with the bloody tide 
From the heads of women, hung side by side, 

The wives of her lord and master ! 
Frightened and fainting she dropped the key, 
But seized it and lifted it quickly ; then she 
Hurried as swiftly as she could flee 

From the scene of the disaster. 

Tableau III. 

(This tableau should have been already prepared and covered by a 
curtain during the showing of the other scenes, as it will take some 
time to arrange it.) A large white sheet, with slits cut in it, is hung up. 



100 TABLEAUX. 

Six girls' heads are thrust through the slits, the bodies being hidden be- 
hind the sheet. Their hair, which should be loug, has been combed to 
the tops of their heads, and is fastened at the ends to the sheet above 
their heads, giving them the appearance of being suspended by their 
hair. The faces may be made pale by the use of powder or chaik. 

(Reading between Tableaux III and IV-) 

She tried to forget the terrible deed, 

But shrieked when she saw that the key was red, 

And sickened and shook with an awful dread 

When she heard Bluebeard was coming. 
He did not appear to notice her pain ; 
But he took his keys, and, seeing the stain, 
He stopped in the middle of the refrain 

That he had been quietly humming. 

(Meading to accompany Tableau IV.) 

" Mighty well, madam !" said he, " mighty well! 

What does this little blood-stain tell ? 

You've broken your promise ; prepare to dwell 

With the wives I've had before you ! 
You've broken your promise and you shall die." 
Then Fatima, supposing her death was nigh, 
Fell on her knees and began to cry, 

" Have mercy, I implore you !" 

Tableau IV. 

Bluebeard, in same dress, is holding a bunch of keys in his left hand- 
one in his hand, the others dangling from the key-ring. The forefinger 
of his right hnnd is pointing to the key His face is stern and angry. 
Fatima, on her knees before him, with hands clasped and head thrown 
back, appears to be begging for mercy. 

(Reading to accompany Tableau F). 

" No !" shouted Bluebeard, drawing his sword ; 
" You shall die this very moment," he roared. 



TABLEAUX. 101 

" Grant me time to prepare to meet my Lord," 

The terrified woman entreated. 
" Only ten minutes," he roared again ; 
And holding his watch by its great gold chain, 
He marked on the dial the fatal ten, 

And retired till they were completed. 

Tableau V. 

Bluebeard, with drawn sword brandished above her head, has seized 
Fatima by the shoulder as she kneels, and is scowling darkly at her. 
Fatima, with hands extended, palms outward, as if to ward off the blow, 
has a look of terror on her face. 

{Reading to accompany Tableau VI.) 

" Sister, O sister ! fly up to the tower ! 
Look for release from this murderer's power. 
Our brothers should,be here this very hour ; 

Speak! does there come assistance?" 
" No ; I see nothing but sheep on the hill." 
" Look again, sister !" " I'm looking still, 
But naught can I see, whether good or ill, 

Save a flurry of dust jln the distance." 

" Time's up !" shouted Bluebeard, out from his room ; 
This moment shall witness your terrible doom, 

And give you a dwelling within the room 
Whose secrets you have invaded." 
" Comes there no help for my terrible need ?" 
" There are horsemen twain riding hither with speed." 
" Oh ! tell them to ride very fast indeed, 

Or I must meet death unaided !" 

Tableau VI. 

Fatima, upon her knees, is grasping the dress^of sister Ann, who ap- 
pears to be looking out of a window. Sister Ann wears a plain dark 



102 TABLEAUX. 

dress made in the same style as Fatima's. One hand is placed on Fatima's 
head, the other is placed above her own eyes, as if to shield them from 
the sun during her outlook. 

(Reading between Tableaux VI and y TJ.) 

" Time's fully up ! Now have done with your prayer," 
Shouted Bluebeard, swinging his sword on the stair ; 
Then he entered and grasping her beautiful hair, 

Swung his glistening weapon around him ; 
But a loud knock rang at the castle gate, 
And Fatima was saved from her horrible fate, 
For, shocked with surprise, he paused too late ; 

And then the two soldiers found him. 

(Reading to accompany Tableau VII) 

They were her brothers, and quick as they knew 
What the fiend was doing, their swords they drew, 
And attacked him fiercely, and ran him through, 

So that soon he was mortally wounded. 
"With a wild remorse was his conscience filled 
When he thought of the hapless wives he had killed ; 
But quickly the last of his blood was spilled, 

And his dying groan was sounded. 

Tableau VII. 

The two brothers appear in dress similar to Bluebeard's. Bluebeard 
lies upon the floor. One brother has placed his foot upon Bluebeard's 
body, and thrust his sword between his arm and his side, as though he 
had run him through. The other brother seems to be in the act of re- 
placing his sword in its scabbard. Sister Ann, standing near, is support- 
ing Fatima, who hides her face upon her Sister Ann's shoulder. 

( Concluding Reading?) 

'Twas a private funeral Bluebeard had, 
For the people knew he was very bad ; 



TABLEAUX. 103 

And, though they said nothing, they all were glad, 

For the fall of the evil-doer ; 
But Fatima first ordered some graves to be made, 
And there the unfortunate ladies were laid ; 
And after some painful months, with the aid 

Of her friends, her spirits came to her. 

Then she cheered the hearts of the suffering poor, 1 
And an acre of land around each door, 
And a cow, and a couple of sheep, or more, 

To her tenantry she granted. 
So all of them had enough to eat, 
And their love for her was so complete 
They would kiss the dust from her little feet, 

Or do anything she wanted. 



SECTION Ml. 



THE YARN OF THE NANCY BELL. 

This is a shadow exhibition, accompanied by reading. The reading 
should be slow and distinct, given by some one hidden from the audi- 
ence. A large sheet is hung between the audience and the actors, and a 
light behind the actors throws their shadows upon the sheet. Let the 
movements of the shadows be as grotesque as possible. 

'Twas on the shores that round our coast 

From Deal to Kamsgate span, 
That I found alone, on a piece of stone, 

An elderly naval man. 

{Here the shadow appears of a man in sailor's garb.) 

His hair was weedy, his beard was long, 

And weedy and long was he ; 
And I heard this wight on the shore recite, 

In a singular minor key, 

" Oh ! I am a cook and a captain bold, 

And the mate of the Nancy brig, 
And a bo'sun tight, and a midshipmite, 

And the crew of the captain's gig." 

(He emphasizes by forward movement of his head as each 
is mentioned.) 
104 



TABLEAUX. 105 

And he shook his fists and he tore his hair, 

(Shakes his fist and runs his hand through his hair.} 

Till I really felt afraid ; 
For I couldn't help thinking the man had been drink- 
ing; 
And so I simply said : 

" Oh ! elderly man, it's little I know 

Of the duties of men of the sea, 
And I'll eat my hand, if I understand 

However you can be 

" At once a cook and a captain bold, 

And the mate of the Nancy brig, 
And a bo'sun tight, and a midshipmite, 

And the crew of the captain's gig." 

Then he gave a hitch to his trousers, which 

(Makes motiori.) 

Is a trick all sailors larn, 
And having got rid of a thumping quid, 

Have quite a large wad of paper held to the side of the face away 
from the audience. Open the mouth wide, and with the thumb and 
finger take the wad of paper, as if drawing it from the mouth, and drop 
it on the floor. 

He spun this painful yarn. 

" 'Twas in the good ship Nancy Bell, 

That we sailed to the Indian Sea, 
And there on a reef we came to grief, 

Which has often occurred to me. 



106 TABLEAUX. 

" And pretty nigh all of the crew was drowned 

(There was seventy -seven o' soul) ; 
And only ten of the Nancy's men 

Said ' Here !' to the muster-roll. 

" There was me, 

(He moves to one end of the sheet) 

and the cook and the captain bold, 
And the mate of the Nancy brig, 
And the bo'sun tight, and the midshipmite, 
And the crew of the captain's gig. 

As each is mentioned his shadow appears on the screen, passes across 
the stage and off at the opposite side, leaving only the " old sailor." 

" For a month we'd neither wittles nor drink, 

Till a hungry we did feel, 
So we draw'd a lot, and accordin' shot 

The captain for our meal. 

A musket can be handed unseen to the " old sailor," and he will put it 
to his shoulder and take aim. 

" The next lot fell to the Nancy's mate, 

And a delicate dish he made, 
Then our appetite, with the midshipmite, 

We seven survivors stayed. 

" And then we murdered the bo'sun tight, 

And he much resembled pig ; 
Then we wittled free, did the cook and me, 

On the crew of the captain's gig. 



TABLEAUX. 107 

" Then only the cook and me was left, 

(Cook here appears.} 

And the delicate question, ' Which 
Of us two goes to the kettle ?' arose, 
And we argued it out as sich. 

They must face each other, and appear to be arguing, shaking heads 
' and gesticulating— one with his hand and the other with extended fore- 
finger. 

" For I loved that cook as a brother I did, 

And the cook, he worship'd me ; 
And we'd both be blowed if we'd either be stowed 

In the other chap's hold, you see. 

" ' I'll be eat if you dines off me,' says Tom ; 

1 Yes, that,' says I, ' you'll be. 
I'm boiled if I die, my friend,' quoth I ; 

And ' Exactly so,' quoth he. 

( Gestures as above.*) 

" Says he, ' Dear James, to murder me 

Were a foolish thing to do, 
For don't you see, that you can't cook me, 

While I can — and will — cook you.' 

A tall wash-boiler is here pushed on the stage, at one side. The cook, 
bending over the boiler, drops small bits of paper into it. 

"So he boils the water, and takes the salt 

And the pepper in portions true, 
(Which he never forgot), and some chopp'd shalot, 

And some sage and parsley too. 



108 TABLEAUX, 

" ' Come here/ says he, with a proper pride, 

Which his smiling features tell ; 
1 'Twill soothing be, if I let you see 

How extremely nice you'll smell/ 

" And he stirr'd it round, and round, and round, 

(Stirs with a long stick.) 

And he sniff'd at the foaming froth, 
When I ups with his heels, and smothers his squeals 
In the scum of the boiling broth. 

Here the " old sailor " takes hold of the cook's legs, and the cook dis. 
appears behind the wash-boiler, his feet only being visible above the top 
of the boiler. He kicks them about furiously, keeping his body well 
hidden. The " old sailor " then pushes the feet down. 

" And I eat that cook in a week or less, 

And as I eating be 
The last of his chops, why I almost drops, 

For a wessel in sight I see. 

A pasteboard ship with holes in it, through which a string is passed, 
is made. Have the string stretched across the stage. To the front 
of the ship is attached a second string, by which the ship is pulled slowly 
into sight. 

" And I never larf, and I never smile, 

And I never lark nor play ; 
But I sit and croak, and a single joke 

I have — which is to say : 

" Oh ! I am a cook, and a captain bold, 

And the mate of the Nancy brig, 
And a bo'sun tight, and a midshipmite, 

And the crew of the captain's gig." 



TABLEAUX. 109 



BO-PEEP'S PARTY. 

A Reading illustrated with Shadows 

Once on a time, Bo-Peep and Boy Blue 

Agreed that they'd give a grand ball, 
And they sent invitations to those that they knew, 

And here is a list of them all. 

Shadow I. 

A little boy and girl, both wearing large hats, stand facing each other, 
the girl bending forward toward the boy, with her finger extended, as 
though talking emphatically. The boy carries a large horn, the girl a 
shepherd's crook. 

First, happy Dame Trot, with footsteps so spry, 
Came, looking so plump and so neat, 

Shadow II. 

Dame Trot, with basket and umbrella, appears, stands for a moment, 
makes a bow, and passes on. 

While following close, with his Christmas plum-pie, 
Queer little Jack Horner we greet. 

Shadow III. 

Jack appears, holding in his uplifted hands a large, but rather shallow 
pudding-bowl. He pauses for a moment, bows, and passes on. 

And then Jack and Jill appeared with their pail, 
Which they filled for the people to drink ; 

" For water/' said they, " is much better than ale ! 
At least so we both of us think." 

Shadow IV. 

A little boy and girl, bearing a pail between them. One of them car- 
ries a long-handled dipper. 



110 TABLEAUX. 

Simple Simon came running, and close on his track 
Tom Tucker, and old Mother Hubbard, 

Whose dog had no bone until she went back, 
For she carried the key of the cupboard. 

Shadows V, VI, and VII. 

Simple Simon, wearing a tall dunce-cap made of paper, takes long 
strides across the stage, Tom Tucker walks across with his fists to his 
eyes. Old Mother Hubbard hobbles across, leaning on a cane in front of 
her. She holds a large key dangling from her forefinger. 

The slayer of giants next came on the scene, 

With his wonderful club of stout wood, 
Then Red Riding Hood, with looks sweet and serene, 

Came, bearing her basket of food. 

Shadows VIII and IX. 

A boy, brandishing a large club (a base-ball bat), appears on the scene, 
remains a moment, then passes off. A little girl, wearing a hood and 
cloak, and carrying a small basket, represents Red Riding Hood. 

The next to arrive was the sweet Queen of Hearts, 
She'd been busy the whole summer day, 

Preparing some more of her wonderful tarts, 
To replace those which were stolen away. 

Shadow X. 

Queen of Hearts wears a long train, the end of which she holds up and 
out at one side. She carries a large fan made of cardboard, cut in the 
shape of a heart. 

Last came old King Cole, that merry old soul ; 

He appeared with his fiddle so fine. 
Then the dancing began — and they danced, I am told, 

Till the sun was beginning to shine. 



TABLEAUX. Ill 

Shadow XL 

Old King Cole is seen with violin and bow. 

Then the guests thanked Bo-Peep and little Boy Blue 

For giving so charming a ball, 
And the hosts said, " Good people, we bid you adieu,^ 

And wish you much happiness all." 

Shadow XII. 

Boy Blue and Bo-Peep appeal* and bow repeatedly. 



GEORGE WASHINGTON'S LITTLE 
HATCHET. 

Reading and Shadows. 

This story's very fine, indeed, 
'Bout George's little hatchet ; 

I think, though, if I try right hard, 
That I can almost match it. 

Shadow I. 

A little boy, holding a large open book. 

I guess this hatchet's big enough 
To do the bit of chopping ; 

I'll cut the pear-tree through and through, 
Until it's just a-dropping. 

Shadow II. 

The little boy swinging the hatchet up and down. 

Ugh ! here comes father sure enough, 

I'll go to him confessing ; 
But, ah ! his looks are really now 

Most awfully distressing. 



112 TABLEAUX. 

Shadow III. 

A man appears shaking his fist at the boy, who has the hatchet on his 
shoulder. 

I think I'd better turn and run 

Nor tarry any longer ; 
It really looks to me as if 

His wrath is growing stronger. 

Shadow IV. 

The boy turns his back to the man, who reaches out to grasp him. 

Oh ! mercy ! mercy ! mercy me ! 

My flesh all over tingles ; 
My teeth are chattering in my head 

With mad, not merry jingles. 

Shadow V. 

The boy is being shaken up and down, and apparently beaten with a 
cane. 

See here, old book, I'll have from you 

Completest satisfaction, 
For when I tried to follow you 

You drove me to distraction. 

Shadow VI. 

[ The boy shakes the'book violently, and then kicks it up into the air. 



SECTION IV. 



STATUARY VIVANT& 

Locomotive headlight or calcium light should be used 
to throw a strong light upon the tableaux. 

The light can be placed at the end of the building 
opposite the stage. A dark cloth should cover the wall 
back of the figures. 

Articles for the costume of each figure consist of two 
sheets for drapery, white stockings (no shoes), white 
cotton gloves, six yards of white rope, cap to fit the 
head, covered with sheet- cotton or crimped tissue paper. 
The cosmetic consists of butter rubbed thoroughly over 
the face (eyes shut) and neck, which are then powdered 
thickly with precipitated chalk. Use the cosmetic 
about an hour before the figures appear, so that it will 
be quite dry. Dress the statues as follows. Double one 
sheet, and pin it round the waist with safety pins, put- 
ting in a pleat here and there that it may hang a little 
full. Take the second sheet, fold it like the first, pass 
under the right arm about half a yard from the end. 
Make the arm-hole by joining the folded edg:es on the 
8 113 



114 TABLEAUX. 

shoulder. Then carry loosely across the chest to left 
shoulder, and arrange as on the right, or, unfold the 
sheet and drape in long, loose folds. Use the rope to 
confine the drapery as a girdle, or bring it round back 
of neck ; cross in front, carry under arms, cross in back 
at waist, carry it in front and tie in long loops. The 
drapery, of course, can be altered to suit the statue ac- 
cording to taste ; a little practicing will soon suggest 
different modes. Where modern styles of clothing are 
worn instead of drapery, all must be pure white. 

Scenes. 

Burd Statue. 

(St. Stephen's P. E. Church, Phila.) 

A cross, six feet high, covered with white muslin. 

Central figure is a woman sitting at the base of the 
cross, elevated about twelve inches from the floor. She 
is pointing with forefinger of right hand at a book on 
right knee, which should be higher than the left. On 
right side of this figure, on the floor, sits a young girl, 
her left elbow is resting on lap of first image, her eyes 
evidently following the pointing finger, her right arm 
hanging carelessly at her side. 

On the left side sits a small child, her head resting on 
the knee of central figure, whose arm encircles her ; the 
child's foot is in view ; one hand is under her cheek, the 
other hangs at her side. A figure representing the 
angel Gabriel (wings made of wire covered with white 
material) stands back of child, bending a little toward, 
and with fingers touching shoulder of central figure. 
The left hand is partly uplifted and holds a trumpet. 



tableaux. 115 

Entreat Me not to Leave Thee. 

CHARACTERS. 

Nao>ii and her daughters-in-law, Ruth and Orpah. 

In this tableau the drapery should be wound around 
the head. Naomi is the central figure ; she stands with 
right hand raised, as if forbidding Ruth and Orpah to 
follow her. Ruth clings to her left arm in a beseeching 
attitude. Orpah has turned away ; only her back and 
side-face are seen as she looks back at Naomi and Ruth. 
She is a few feet behind and to the right of Naomi. 

The Seed Sower. 

Figure of young man with smooth face. Skirt dra- 
pery a little below the knee ; long white stockings above 
knee. In his left hand he holds a receptacle for seed. 
(A. medium-sized sieve white- washed may be used.) 
His right arm is outstretched as if he had just thrown 
the seed. One foot should be in advance of the other, 
as if walking rapidly. 

Taking the Cream. 

A young girl in short white dress, apron, and 
cap. In her right hand she holds a cream can (white- 
washed). With her left hand she is apparently 
warding off a kiss which a young man, whose arm is 
around her shoulder, is trying to bestow. The young 
man's dress should be knee-breeches, blouse waist, 
slouch hat. 

The Storm. 

A young female figure with drapery drawn, as if 
blown by the wind. She has a small cap on her head, 
and her head is turned, looking over right shoulder. 



116 TABLEAUX. 

In her right hand she carries a basket ; with her left 
she is screening with her mantle a little child, whose 
face peers out from under it. The child's left hand is 
on his cheek, as if warding off the wind. 

Morning and Night. 

Morning is a young girl, with loose flowing drapery, 
girded at waist, reaching to ankles. Her left hand 
rests on her hip. Her right hand holds a cup from 
which she is about to drink. Night is a bowed figure 
sitting on floor, back and to the left of Morning. The 
drapery is over the head. The right hand rests on the 
knee. The left hand is clasping a staff, which stands 
upright. 

A Suit that does not Prosper. 

The figure of a young girl. The skirt of dress is 
straight, reaching to ankles ; white mantle, drapery over 
her head ; her hands are clasped in front. She is turn- 
ing away from a young man who is just back of her, 
and who is holding on to her mantle and is bending a 
little forward in an entreating manner. His dress is 
knee-breeches, loose coat, rather flat hat, with feathers ; 
his hair hangs almost to his shoulders; hair is simulated 
with the raw cotton or crimped tissue paper. 

"What's the News, Grandpa ?" 

A little boy and girl are the figures. They are seated 
in high backed chairs, the girl at the left of the boy. 
She wears an old lady's cap and spectacles, short white 
dress and apron. Her feet are crossed, resting on a 
footstool. She holds knitting needles as if knitting, 



TABLEAUX. 117 

and a ball of knitting cotton is on her lap. (The 
needles and spectacle frames should be covered with 
tissue paper.) She is looking over her right shoulder, 
as if asking " What's the news ?" of grandpa. The boy 
has a handkerchief draped upon his head. He wears 
spectacles, and in hk left hand is a snuff-box. His 
right hand is raised a few inches above the open box. 
His feet rest upon a stool. He is looking at grandma 
as if listening to her question. Pillow-slips can be used 
to cover the backs of the chairs. 



The Home Guard. 

For three small children. 

The largest child is dressed in blouse and knee-pants. 
He has a drum strung around his neck. He wears a 
soldier-cap adorned with a flowing plume (white paper 
cut in strips). He marches at the head of the line, his 
left foot a little in advance of the right. Directly be- 
hind him is the child next in size. This child wears a 
loose dress in one piece reaching to his knees. With 
his left hand he holds a trumpet. A toy horse is held 
by the right hand. It is fastened to a long stick, which 
he bestrides. A three-cornered paper soldier- cap, with 
a waving plume at its point, is on his head. The third 
figure in the procession is a little girl. She wears a 
short white dress w T ith sash. On her right shoulder 
she carries a toy gun, the butt of which she clasps with 
her right hand. With her left hand she is drawing 
along a little woolly dog. She does not wear a cap. 
(The tissue paper or cotton should be arranged to re- 
semble short tight curls.) 



118 TABLEAUX. 

DEVOTION. 



A LADY in simple white dress with short or verj 
tight-fitting sleeves, neck bare, white flowers at 
bosom. The figure should be kneeling upon one kneb 
before a high white cross, face cast upward, hands fold- 
ing a white prayer-book to breast. 



THE THREE GEACES. 



THREE young ladies, one taller than the others, 
should constitute a group — the tallest should be the 
centre figure. Faith should stand on the right, resting 
right arm on a cross. Hope should be placed on the left 
holding in left hand an anchor, arms intertwined and 
pose of all most graceful. 

Cross and anchor may be made of wood, covered with 
white paper. 

DIANA. 



YOUNG girl in short white dress, long white stock- 
ings, open quiver filled with arrows thrown over 
the right shoulder. A bow in the left hand, and the 
right hand reaching back as though in the act of taking 
an arrow from the quiver. Pose agile. 

Bow and arrows may be made of same material as 
mentioned above. 



SECTION V. 



BACKWARD. 

A charade in three acts. 

CHARACTERS. 

Mr. French, John (a servant). 

Madge (Mr. French's ward). 

{Scene first reveals Mr. French, in dressing-gown and 
slippers, reclining in a large chair, yawning as though 
awaking from a nap.) 

Act I. 

Mr. French (calling). — John, I say, John, you rascal, 
where are you ? (Louder.) John ! Jo — h — n ! 

John (coming leisurely toward him). — Did you call, 
your honor ? 

Mr. F. — Did I call ! Oh ! no, not at all. I never 
call when I want you ; I shout, I yell. You're as deaf 
as the house when it suits you to be. You're never 
here when you're wanted, and when you're not wanted 
you're always in the way. 

John. — Sure, and can I do anything for you, sir ? 

Mr. F. — Shake up the pillow, so that I may rest my 
back a little. (John proceeds to do so.) Gently, John, 
gently, Oh ! o-h-h ! my back, my back. Will this pain 
never cease ? 

119 



120 TABLEAUX. 

John. — Faix and how can I tell? Have patience a 
little longer ; for if you don't get better soon, you'll 
die, sure, and then you're sufferings '11 be ended. 
Ahem ! 

Mr. F. — Die ! What are you talking about ? Die ! 
Get out of here with your stupid nonsense ! What do 
you mean? {John walking away .) Come back ! Where 
are you going ? Come back, I say. 

John. — Is it here you wants me to stay ? I was ruis- 
understhanding you, sure. I thought you said go. 

Mr. F. — Don't be a blockhead. (Oh-h-h ! my back.) 
Tell me some news, can't you? Something amusing to 
make me forget my suffering. Since I've been laid up 
with this rheumatism I've heard nothing, seen nothing. 

John. — News is scarce, your honor. Nothing hap- 
pened around here worth knowing since they took the 
horse away. 

Mr. F. — Took the horse away ? What horse ? 

John. — Your horse, to be sure. 

Mr. F. — My horse stolen ! Oh ! oh ! oh ! 

John. — No, not stolen ; taken in broad daylight. 

Mr. F. — Taken where ! 

John. — To be buried, sir. 

Mr. F. — Well, this is amusing with a vengeance. 
To be buried! When did he die? What ailed 
him? 

John. — Fell into a pit, yesterday, and broke his legs, 
his neck, and his back — in fact, crippled himself all 
over, the poor beast. 

Mr. F. — H'm. It's a pity you hadn't fallen with him. 
(Oh-h-h !) Suppose you go and bring me my mail. 
Your cheering news has refreshed me wonderfully. 
[Exit John. Curtain.'] 



TABLEAUX. 121 

Act II. Ward. 

(Same scene. Mr. French seated in the same chair, tvith 
a letter in his hand. He opens the letter and reads 
aloud :) 

Dear Guardian. — I will be with you this afternoon 
at six. I am tired of school, and I'm going to leave it. 
Don't scold, and don't say " I'll send her back," for I 
won't go. In haste. 

Your affectionate ward, 

Madge. 

Well, this is interesting. What am I going to do ? 
Here I am laid on my back, the housekeeper gone off 
in a huff, a cross-grained Irish girl in the kitchen, 
and a harum-scarum boarding-school miss with all sorts 
of independent airs, coming in less than half an hour. 
(Oh ! my back, will it never get well ?) I thought I 
was rid of her for another year, at least, but she says 
she's coming, and come she will. (Calling.) John! 
John-n ! 

John. — Yes, sir, your honor ; and here's a young lady 
just back of me, who says you're looking for her, and 
come in she would. {Madge enters, dressed in traveling 
suit.) 

Madge. — My dear guardian ! (throwing her hat and 
cloak carlessly on a chair, and advancing toward him.) 

Mr. F. — H'm ! So you're my ward, I suppose. 

Madge. — Yes, I suppose I am. (Sitting down.) I 
am Madge, you know. But how long have you been 
sick ? You look dreadfully pale and thin. You should 
have sent for me. 



122 TABLEAUX. 

Mr.F.— What for? 

Madge. — To take care of you. 

Mr. F. — Ha! ha ! That's a good joke. What does a 
pert school miss know about such illness as mine ? 

Madge. — Not much, perhaps ; but then I might help 
to amuse you and soothe your weary hours. 

Mr. F. — Amuse me ! No, thank you. John's a 
master hand at that business ; two of you would kill me 
quite. 

Madge. — That would be shocking. You know you're 
my guardian ? 

Mr. F. — Yes, to my sorrow. 

Madge. — And I am your ward ? 

Mr. F. — Yes, yes. (And a fool I was for making 
such a promise.) 

Madge. — And this is to be my home ? 

Mr. F. — (Oh-h-h !) Of course, of course. Go on. 

Madge. — Well, then, I'm going to stay here. No 
more school for me. I'm sick of school. I never could 
see any sense in studying so hard, anyhow, and I'm not 
going to do it any more. 

Mr. F. — Well, well, please yourself ; but mind, when 
you get tired of it here, don't worry and bother me to 
send you back. 

Madge. — Never you fear, you dear, fussy old guardian. 
Now, after I have made your head comfortable {fixing 
his pillow), and brought you a footstool for your feet 
(bringing a stool), I'm going to make myself at home, 
and hunt something to eat, for I'm as hungry as a bear ; 
and I'll bring you some tea and toast to cheer you up 
a little. You look awful blue and (mischievously) 
cross. 

[Exit Madge. Curtain."] 



TABLEAUX. 123 

Act III. — Backward. 

(Same scene. Mr. French seated in chair. Enter Madge 

bearing a tray, which she sets on a table near him.) 

Madge. — Well, here I am at last. Did you get tired 
waiting ? * 

Mr. F. — No matter if I did ; I'm used to waiting. 

Madge. — My ! but you're snappish. Now, while you 
sip this delicious tea, let me tell you what kept me. 
(Hands him the tea.) 

Mr. F ^tasting the tea). — Did you make this ? 

Madge. — Of course I did. Isn't it delightful? 

Mr. F. (making a wry face). — Delightful! Oh! yes, 
very, very. Oh ! oh ! Boarding-school tea, I suppose. 
(Aside.) Tastes like dish-water. 

Madge. — Well, when I went down into the kitchen to 
make myself at home, you know, and saw the cook 
standing perfectly aghast at my intrusion, I must con- 
fess I felt a little backward about helping myself, and 
so I concluded I had better work my way into her good 
graces first. 

Mr. F. — Which you did, I presume. 

Madge. — Oh ! yes ; I told her all about my being an 
orphan and having no home but this, and then I asked 
her about her brothers and sisters, and how long she 
had been in this country, and then I spoke a good word 
or two for old Ireland, and that won her completely. 
After that I believe I could have turned the kitchen 
upside down with impunity. 

Mr. F.— Very bashful and diffident you are, I must say. 

Madge. — Now, you are making fun of me ; but I am 
backward about some things. I always had that name 
at school. 



124 TABLEAUX. 

Mr. F. — That's the reason you left, I suppose. 

Madge, — Yes, that's one of the reasons. One of 
the teachers had the impertinence to tell me that I 
was forward in my manners and backward in my 
studies ; and I considered it an insult. 

Mr. F. — I don't wonder. Now, suppose you stop 
talking for a little while and shake up my pillow again. 
(Madge proceeds to do so and tilts the chair backward.) 

Mr. F. — Oh ! here ! Stop ! What are you doing ? 
You'll break my back. Oh — 

Madge.— Oh ! did I hurt you ? That's too bad. But, 
I say, Guardy, you were the backward one that time. 
My, how scared you look! I can't help laughing. 

Mr. F. — No, I see you can't, and so you may leave 
me now. 

Madge. — Well, by-by, then. I'll go take a run on 
the lawn and leave you to your own pleasant thoughts. 
[Exit Madge. Curtain.'] 



MENDICANT. 



A charade in four acts, 

CHARACTERS. 

Sophie, Laura, Marion, {sisters). 
Aunt Phebe. 

Scene : A sitting-room. 
Act I. — Mend. 



Sophie (seated in a low rocking-chair, with a large 
work-basket standing beside her, containing clothing 
from the weekly wash to be mended. She folds up a 



TABLEAUX. 125 

garment which she has just mended, lays it aside, and 
takes up a stocking, which she draws over hpr hand, and 
begins to darn). — What a slavish life I lead, to be 
sure. It's cook and bake and wash and scrub from 
morning till night, and then for an evening's recreation 
I must take my work-basket and mend, mend, mend. 
Look at that stocking, now ! (Holding it up and ex- 
posing the large hole she is darning.) Isn't that a yawn- 
ing chasm to be filled with stitches ? And here is this 
basket full of other torn and worn garments, all to be 
mended by one pair of hands. If Laura or Marion 
would sometimes assist me — but Laura thinks only of 
herself and her pleasures, and Marion is actually too 
lazy, and so, if any of the household machinery gets 
out of order, why, I'm the one to mend it. Heigho ! 
I wish things would mend themselves ! 

(Enter Marion and Laura.) 

Marion. — O sister Sophie ! we've got a letter, by the 
evening's mail ! 

Laura. — And whom do you suppose it's from ? You 
never can guess, I know. 

Sophie. — Suppose you tell me, then, or let me see the 
letter. 

Marion. — Here, take it ! It's from Aunt Phebe, our 
one rich relation, and a dreadful old crank she must be, 
judging by her letter. 

Laura. — And she's coming here to make us a visit. 

Marion. — And find out whether she likes us well 
enough to leave us her fortune, I suppose. 

Laura. — I'm pretty sure I can make her like me, and 
then if she'll only die soon and let me have her money, 
I'll— 



126 TABLEAUX. 

Marion.—*- Well, that's cool ! If any one needs her 
fortune I'm sure it is I, for I certainly was never meant 
to earn my own living. 

Sophie.— Do hush, both of you ! It is shamefully 
wicked to talk so, to wish for the death of your aunt, 
and to covet her money. And, indeed before either of 
you can ever deserve to be rich you'll have to mend 
your ways. 

Laura. — Mend my ways ? Not I. Mending is not 
in my line. 

[Exit Laura."] 

Marion. — Mend my ways! No, Sophie, 
I'll take and I'll spend, 
But to make and to mend, 
is your prerogative, and I couldn't think of interfering 
with it. 

[Exit Marion.] 

Sophie (sighing and folding up a finished piece). — 
That's the way it always is! They cannot see that 
some one must be diligent or the housekeeping would 
fall into utter confusion, and so they ridicule me instead 
of helping me. One is vain, and the other is idle, and 
on me falls all the burden. 

Act II.— I. 

Laura (looking at her image in a mirror, and smiling 
and smirking). — Well, I must say, if looks are worth 
anything, that I stand a fair chance of captivating our 
rich old aunt. I know I'm pretty, and why should I 
pretend to think otherwise. My wise sister Sophie 
thinks I'm selfish and vain. Well, suppose I am, I can 
be young but once in my life, and I want to enjoy 



TABLEAUX. 127 

myself. (Enter Sophie and Marion* Sophie begins to 
set the room in order, dusting and setting the chairs 
straight , etc, Marion sinks languidly into an easy-chair.) 

Marion. — Goodness, Laura, what are you doing be- 
fore the glass? Worshiping yourself as usual? 

Laura {unabashed, still looking at her image). — I am 
studying the effect that I shall produce on our dear 
Aunt Phebe. I desire to be simply irresistible. I wish 
to entirely obscure my two sisters, and — 

Sophie, — O Laura! what superb egotism ! 

Marion. — Laura, if you were asked the most import- 
ant letter of the alphabet, I know you'd say " I." 

Laura. — Of course I should. What other single let- 
ter does mean so much? And I believe other folks are 
just as selfish as I, only they will not acknowledge, as I 
do, that — 

Of all of value upon this earth, 
1 think myself of greatest worth. 

Sophie. — I have too much to do, to stay and listen to 
any more such egotism. 

[Exit Sophie.] 

Marion. — And I, too, will leave you to your self ado- 
ration. 

Laura. — I'd be equal to the occasion, I think. But 
just now I'll go with you. Good-bye, sweet image of 
myself. (Throws kiss toward mirror.) 

[Exit Laura and Marion.] 

Act III.— Can't 

(Marion is seen reclining upon a lounge. Sophie enters.) 

Sophie. — Marion, I want some help in the kitchen. 

Aunt Phebe will arrive this afternoon, and I have so 

much to do before then. Won't you come and help me ? 



128 TABLEAUX. 

Marion. — Why, Sophie, I would if I could, but I 
can't. I do wish Aunt Phebe would stay at home! 
Where's Laura? Maybe she will help you. I can't, 
iudeed ! I have the headache. 

Sophie. — I'll have to ask Laura then, and I fear she, 
too, will say she can't. 

[Exit Sophie.~\ 
[Enter Laura.~\ 

Laura. — Ah ! here you are, Marion ! I wish you 
would come up-stairs and loop my dress for me. Now 
do not say you can't, as I see you are inclined to do, but 
come. 

Marion. — Did you see Sophie ? She wants you to 
help her in the kitchen. 

Laura. — I can't possibly do it ! I have to get dressed. 
Come help me! 

Marlon. — I quote your own words, " I can't possibly 
do it." I'm too tired. 

Laura. — Speak the truth, and say you won't. 

Marion. — Oh ! no. Why should one be more disa- 
greeable than is necessary? " I won't " is ever so much 
more impolite than "I can't," yet " I can't" answers 
every purpose. At least I have always found it so. 

Laura. — Oh ! how lazy you are ! If you won't — can't 
I mean — assist me, I must hasten, and e'en assist myself. 
[Exit Laura.~\ 

Marion. — And w T ho's to help poor Sophie. I ought 
to, but really I am so lazy I can't ! 

Act IV. — Mendicant. 

{Sophie, Laura, and Marion are seen in characteristic 
positions. Sophie, sewing ; Laura, looking at her own 
apparel; Marion, lounging. They are awaiting the 
arrival of Aunt Phebe.) 



TABLEAUX. 129 

Laura. — It is almost time for the old dame to arrive. 
I wonder what we will do with her, if she is dreadfully 
queer ! 

Sophie. — I have always heard that she is eccentric, 
but— 

Marion. — There's a knock ! You go, Sophie. 

Laura (rising). — No, I will go. 

Marion. — Oh ! yes. You want to make the first im- 
pression, of course. Well, go along. 

Ijaura (with a charming manner, opening the door). — 
My dear aunt — (Seeing an old beggar woman — to all 
appearance — standing there, she scowls and says) Oh ! 
go away, you dreadful old woman. What are you doing 
here ? You have no business here. Go away, I say ! 

Sophie (approaching). — Let me see her, Laura. What 
do you want, my good woman ? 

Aunt Phebe (disguised as beggar). — A little help, 
please. 

Marion (from within). — We haven't time to attend 
to beggars just now. We're looking for another sort of 
old nuisance — old lady, I mean. 

Laura. — Do send the old beggar away, Sophie. We 
have nothing for you, woman. 

Aunt Phebe. — Just a little help ! Something to eat, 
or a little money. I am not a common mendicant, in- 
deed. 

Sophie. — Step inside, and I'll get you something to 
eat. Sit here. 

Marion. — -Sophie's always doing something absurd. 
The idea of bringing an old beggar in here! When 
folks get to be so old, I think it is time for them to 
die. 

Laura. — Yes, I hope Aunt Phebe won't tarry long 
9 



130 TABLEAUX. 

in this vale of tears after I have once got into her good 
graces and secured her fortune. 

Marion. — I'd be satisfied if she would only stay at 
home, and not be making visits here, and upsetting the 
peace of our household. I've had to exert myself two 
or three times since we heard she was coming, and I'm 
tired of it. Even if she is rich, I, for one, don't want 
to see her. 

Laura. — And it is only because of her money that I 
want to see her. 

Sophie {entering with a tray of refreshments). — I have 
brought you something to eat, but I have kept you 
waiting rather long, I fear. 

Aunt Phebe. — Oh! I enjoyed hearing the young 
ladies talk. It was very interesting. I told you I was 
no common mendicant, and my chief want has already 
been satisfied. {Throws off her disguised) I wanted to 
find out the sort of girls my nieces are, and verily I 
have done so. My plan of coming to you in disguise, 
though not a very original one, has proved very effi- 
cient. You two young ladies have soon displayed to 
me your real characters, selfish and ease-loving, and you 
need never hope to benefit by any money of mine, but 
your sister here, may, at some future time, reap the re- 
ward of her readiness to show kindness to a poor old 
mendicant. 



TABLEAUX. 131 



INCOMPATIBILITY : 



A charade in four scenes. The last scene is the entire word. 
CHARACTERS. 



Mr. Clay. 
Bessie Clay. 
Small Girl, Patty. 



Mr. Simmons (Bessie's lover). 
Martha (servant girl). 
Small boy Billy. 



Scene I. — Income. 



(Pleasant sitting-room. Mr. Clay, with dressing gown 
and slippers, reading. Martha enters the room and 
hands a card to Mr. Clay.) 

Mr. Clay (reading the card). — Very well, Martha, 
show the gentleman in. [Martha exit.~] 

Martha (opening the door). — Mr. Simmons. 

Mr. Clay (rising). — Good evening, sir ; happy to see 
you ; be seated. 

Mr. Simmons. — Ahem ! Thank you, sir (taking a 
seat). I — I have called — I have called, Mr. Clay. 

Mr. Clay. — Yes. 

Mr. Simmons. — As I remarked — I have called — on 
important business. I — that is we — or rather, in fact ; 
I love your daughter, and — I — wish to ask your per- 
mission to pay my addresses to her. 

Mr. Clay. — Well, really Mr. Simmons, you take me 
rather by surprise. I scarcely know what to say. I 
had no idea that there was anything of this sort going 
on. You must excuse me, Mr. Simmons, but it is hard 
for a father to think of losing his daughter. Bessie is 
the eldest, and is the light of our household. We have, 
perhaps, been too indulgent, but she has never known a 



132 TABLEAUX. 

care, nor ever had a wish ungratified. And I can never 
relinquish her to any one without being certain her 
future husband can support her in the same style. Do 
not think me mercenary, but I should like to ask what 
your business prospects are. 

Mr. Simmons. — Certainly, sir, that is quite proper, and 
as I supposed you would wish to know something of this 
kind, I have brought a full statement of my income. 
{Takes a paper from his pocket, with a long row of figures 
on it and opens it full length. It should be a sheet of 
legal note.) 

Mr. Clay (taking the paper and holding it up). — Why, 
bless me ! Is it possible your income is $60,000 ? Bessie 
is yours, my boy, and I shall feel proud to be your 
father-in-law. 

[Curtain.] 

Scene II. — Patty-Billy. 
(Same room as before. Mr. Simmons seated on the sofa.) 

Patty (entering). — How do you do ? 

Mr. Simmons. — Well, Patty, is your sister home ? 

Patty (seating herself).— Oh. yes, and she will be in 
as soon as she takes her hair out of the- curl papers. 
But I shouldn't wonder if she would stop to put on her 
blue dress, for she was making molasses candy for Billy 
and me, and she spilled molasses all down the front of 
her white dress, and she got dreadful mad and boxed 
Billy's ears, and he said he was going to tell you and ' 
then you wouldn't want to marry her, and — oh, you 
w r ill be my brother, won't you ? Brother Charles ; 
won't that be funny ! I don't believe I'll like you as 
well as I do Billy. He is my brother, too. You can't 
play marbles nor climb chestnut trees, can you ? 



TABLEAUX. 133 

Mr. Simmons. — Who told you I was going to be your 
brother ? 

Patty. — Oh, they were all talking about it at the din- 
ner-table, and pa and ma were dreadful glad. Pa said 
you were as rich as creases, but I don't see anything nice 
in them, for ma always scolds me when I get creases in 
my dresses. Here is [enter Bessie~\ Bessie, I must go ; 
we've had a very pleasant conversation. Good bye ! 

Mr. Simmons. — Your sister is quite an entertaining 
child. 

Bessie (aside : I wonder what she told him). — Yes ; she 
is a little chatter-box. 

Mr. Simmons (leading her to the sofa). — And now, my 
darling Bessie, I may at last call you mine. I saw your 
father last evening and he gave a gracious consent to 
our union. 

Bessie. — Dearest Charles, I — 

Billy (who is hid under the sofa, groans). — Oh ! [Bessie 
and Charles start and look around the room.] 

Mr. Simmons. — It shall be the pleasure of my life to 
minister to your every want, and to render your days a 
perpetual joy. 

Bessie. — Ofh, you are so good, I can never — 

(Billy groans again. They both start up and look 
under the sofa. Mr. Simmons drags forth Billy, who 
puts his hands in his pockets and looks defiant.) 

Bessie. — Billy, you naughty, wicked boy, what were 
you doing under the sofa ? 

Billy. — Listening. m** 

Bessie. — What were you listening for ? 

Billy. — I wanted to hear what Mr. Simmons said to 
you. You got mad and boxed my ears, and I said I'd 
have revenge [boldly] ! 



134 TABLEAUX. 

Bessie. — Go up-stairs immediately ; I shall tell pa of 
your conduct. 

[Curtain.] 

Scene III. — Tie— A Tableau. 

(A wedding scene. Patty and Billy should be in the fore* 
ground.) 

Scene IV. — Incompatibility. 

{A dining-room. Table spread. Mr. Simmons seated near 
the table.) 

Mr. Simmons. — Married two months to-day, and we 
would be perfectly happy if it were not for this jealous 
disposition of Bessie's. (Enter servant, who hands him 
some letters and retires.) Two letters for Bessie (laying 
them on the table). Here is one from Gerald — dear, old 
fellow (opens it and reads). " I called on Flossie last 
evening ; she seems quite heart-broken about your mar- 
riage— says you have forgotten her ; she has heard from 
you only once or twice since the wedding, and, in fact, 
seems quite grieved at your neglect. I told her I was 
going to write, and she asked me to send this picture to 
you in my letter." (Looking at the picture.) Poor little 
girl, it is too bad. I have not intended neglecting her, 
for I love her dearly and always shall. (Puts the letter 
and picture in the envelope. Enter Bessie. He rises 
and the letter drops on the floor.) Bessie, there are some 
letters on the table for you. I am going out, but shall 
be back shortly to take you driving. 

Berne.— Very well, I shall be ready. [Exit Mr. S.~] 
Two letters from home, that is good. (Sees the letter on 
the floor, picks it up, picture drops out.) Ha! a lady's 



TABLEAUX. 135 

picture. Writing to my husband and sending her pho- 
tograph. I have a right to see what she says, and I'll 
do it {reading the letter). So Flossie misses him, does 
she ? And this Gerald, this model friend, is helping it 
on. Oh, my heart is broken; I shall die {burying her 
face in her handkerchief). Oh, my, why did I ever marry 
this base deceiver ? I'll pack my trunk and go right 
home to-day. Oh, oh, I'll — {enter Mr. Simmons; sees 
Bessie with her hands to her Jace). 

Mr. Simmons. — What is the trouble Bessie? Have 
you bad news ? 

Bessie. — Go away ; don't you ever speak to me again. 
Oh, how could you deceive me so ? 

Mr. Simmons. — Deceive you ; what are you talking 
about ? What have I done ? 

Bessie (sobbing). — Oh, yes, you are very innocent. 
What does this mean ? {handing him the picture). 

Mr. Simmons (angrily). — Have you been reading my 
letter? 

Bessie (rising). — Yes, I have, and I am going straight 
home to pa, and have him go to the lawyers and get me 
a divorce. 

Mr. Simmons. — On what grounds ? Jealousy ? 

Bessie. — No, it shall be incompatibility (sobbing). 
You abuse me, and then you — you make fun of me. 

Mr. Simmons. — No, Bessie, I am not making fun of 
you ; this is a serious matter, and if you do not check 
this jealous disposition you will render us both miserable. 
That is a picture of my sister Ida, of whom I have often 
told you ; her middle name is Florence, and her friends 
call her Flossie. 

Bessie. — Oh Charles, I was jealous of your sister. How 
foolish I am. I will never — no, never be jealous again. 



136 TABLEAUX. 

Mr. Simmons. — I hope you will keep that good reso- 
lution, Bessie, and if you do we shall never have any 
cause to quarrel, but will be the model couple of the 
nineteenth century. 

[Curtain.] 



PUNGENT. 



A charade for five characters. 
Four females and one male. 

{The first scene shows three young ladies doing fancy 

work.) 

Act I. — Pun. 

Ida. — Here we have been sitting as quiet as mice for 
the last hour, counting stitches, shading silks, or arrang- 
ing crazy patchwork. I move that we display a little 
more sociability during the remainder of the evening. 

Irene. — I second the motion. But, what shall we do ? 
Play anagrams or talk gossip ? 

Katie. — Neither. Suppose we try something new. 
Let us ask each other questions, to which our replies 
must be so arranged as to contain a pun. For instance, 
I say t© you, Ida — 

Ida. — Yes, yes, I'll try to make a pun, 

If you'll only show me how 'tis done. 

Katie. — Just wait one moment, till I think what to 
ask you. And remember, if you fail to make a pun in 
your answer, there's a penalty. Let me see — you will 
have to go out and bring in a plate of apples for us. 



TABLEAUX. 137 

Ida. — U-pon my word, I think that will be pun-ish- 
ment. 

Katie (laughing*). — Pretty good for a first attempt. 
Now, Irene I'll try my hand on you. 

Irene. — I imagine you are not so hand-y as you think 
at this game. 

Katie. — Caught again, before I've started ! Ida, what 
is the matter with your hair ? 

Ida. — Why, do I look hair-um-scarum ? 

Katie. — I think I'll beat a retreat, and bring in the 
apples, and a doughnut apiece. 

Irene. — For peace sake we cannot say dough (do) 
nut (not). 

Act II. — Gent. 

(Room as before. Katie entering with apples, takes her 
seat. Judy, a servant enters.) 

Judy. — Faith, ma'am, there's a gent as wants to know 
as ye're in. What ought I be tellin' him ? 

Katie. — A-gent? Agent for what, Judy? 

Irene. — Organs or sewing-machines, I suspect. Judy, 
tell him we have all the organs we need — organs of see- 
ing, smelling, hearing, etc. 

Ida. — And as for sewing-machines, we each have ten 
old-fashioned ones which we wouldn't exchange for any 
new-fangled affairs. 

Judy. — Sure, it's not that kind of a mon ; it's the 
young gent as drops in of an evening, to be sociable 
like. 

Katie. — You shouldn't say gent, Judy. Ask the 
young gentleman in. 



138 TABLEAUX. 

Judy {turning away). — Sure, and he's not a gent-tall- 
man at all. The young man is a short gent. 

{Exit Judy.~\ 
Act III. — Pungent 

{Enter Judy, followed by a young man, whom she an- 
nounces.) 

Judy. — The gent-tall-man! (aside.) as isn't tall! 
(Shrugs her shoulders and leaves the room.) 

Charlie. — Good-evening, ladies. (Turns and looks 
after Judy.) Judy is facetious. Why did she com- 
ment on my height? 

Katie. — She was repeating a lesson that she hasn't 
quite learned. It was nothing personal. 

( Charlie takes his handkerchief out of his pocket, shakes 
it, and brushes an imaginary speck from his coat. All 
the young ladies cough. He looks around, surprised.) 

Charlie. — My entrance seems to have given you all 
sudden colds. 

Katie. — No, it isn't that, but, at-choo, at-choo. 
(Sneezes twice.) 

Charlie. — Why, this is a remarkable reception. 

Katie. — It is that very pun (at-choo) gent (at-choo) 
odor on your (at-choo) handkerchief. 

(Irene and Ida begin to sneeze.) 

Irene. — I should think — (sneezes.) 

Ida. — It was — (sneezes.) 

Irene and Ida together. — Pungent ! 

Charlie (placing his handkerchief to his nose, and 
sneezing). — Well, that roguish brother of mine (sneezes) 
must have put pepper (sneezes) on my hand (sneezes) 
ker (sneezes) chief. 



SECTION VI. 



PLAYFUL. 



Charade. 

Scene I. — Play. 

School-house yard ; boys and girls at play. 

Scene II. — Full. 

A table, on which is placed an empty goblet. Several 
scholars present. Let one enter, bearing a pitcher 
of water, and fill the goblet ; then let another scholar 
attempt to add more water to the already filled goblet ; 
at the same time let all those present shake their heads, 
and motion with their hands for her to desist. Let 
several others try to add water to the goblet with the 
same result. 

Scene III. — Playful. 

Let all the scholars be seen playing " tag " and laugh- 
ing, as though having a pleasant time. 



SAUSAGE. 



ANNOUNCEMENT. 

This pantomimic charade is in three scenes, and represents a word of 
two syllables. Scenes 1 and 2 show the syllables, and Scene 3 the entire 
word. 

139 



140 TABLEAUX. 

Scene I. — Saw (Sau). 

A farmer, with a basket of potatoes or corn or grain 
before him, which he is examining, is approached by a 
shabbily-dressed man, who makes motions to show that 
he is very hungry and wants something to eat. 

The farmer shakes his head in denial, but the tramp 
persisting, he finally points to some wood to be sawed, 
procures a saw which he hands to the tramp, and shows 
him the desired length of sticks, and motions that he 
shall have food if he works for it. The hungry fellow 
saws laboriously, but varies the monotony by ludicrous 
gestures, pretending to be hungry enough to eat the 
saw, wiping the imaginary perspiration from his face, 
then wringing his ragged handkerchief as if it were 
soaked and any other appropriate antics. The curtain 
falls while he is still sawing. 

Scene II. — Sage. 

A library. A table piled with books and papers, 
charts and globes, and any other articles befitting a 
student. A man in dressing-gown and slippers, skull 
cap on, wearing spectacles, and looking as wise as pos- 
sible, is reading studiously in one of the largest of the 
books. 

Scene III. — Sausage. 

The tramp of Scene 1st is seated at a table, and is 
apparently enjoying a full meal. Presently he holds 
up a large piece of sausage upon his fork, gazes at it 
admiringly, searches in his pockets, produces a piece of 
brown paper, and proceeds to wrap up the piece of 



TABLEAUX. 141 

sausage and place it carefully in his hat. The farmer 
now enters the room, and asks him, by motion, if he 
has had enough. The tramp rising, attempts to put on 
his hat and the paper of sausage falls to the floor. The 
farmer picks it up, and, being poorly wrapped, the 
paper falls off, and a tableau follows : The farmer hold- 
ing sausage at full arm's length, the tramp looking 
longingly at it, with hand slightly outstretched toward 
it. 



MISFIT. 



Scene I. — Miss (Ms). 

A playground is shown. Five or six boys, with 
bows and arrows, are shooting at a mark. They all 
make failures, missing the mark. At each successive 
failure a shake of the head or shrug of the shoulders, 
or some other mark of disappointment should make it 
plain to all that the archer has made a miss. 

Scene II. — Fit. 

Same playground and boys. The boys are standing 
in a group, their gestures showing an animated talk, 
when one of the number falls to the ground, and the 
others surround him with looks of dismay. One hur- 
ries off and brings a physician. In the meantime the 
others have lifted the afflicted boy and placed him upon 
a bench close at hand, one boy sitting and supporting 
his head. The doctor comes, feels his pulse and loosens 
his neckwear, and the patient begins to recover and sits 
up. 



142 TABLEAUX. 

Scene III. — Misfit. 

Same scene. Boys are putting on their coats, which 
have been thrown in a heap during their play. Small 
boy standing conspicuously in the foreground, puts on 
a coat several sizes too large for him. He should make 
the situation ludicrous by holding out his arms so that 
the sleeves dangle over his hands, and show the extent 
of the misfit. 



ATTENDANCE. 



This charade is in three acts. Act I represents the first two syllables 
of the word. Act II shows the third syllable, and Act III the whole 
word. 

Act I. — At Ten. 

A woman in housekeeper's dress is writing, seated at 
a table or desk. Conveniently near stands "a large 
clock or dial. A knock is heard and there enters a 
girl who hands a letter to the housekeeper, and looks at 
her inquiringly. She shakes her head in denial, and 
with her pen points at ten on the clock face, and the 
girl passes out. A second knock, and a butcher's boy, 
with long white apron, and a large basket on his arm, 
comes in and presents a bill, pointing out to her the 
items. She takes the bill and lays it on the table, again 
shakes her head and points at ten on the clock. The 
boy passes out. Two young ladies, fashionably dressed, 
are the next callers. They bow and look inquiringly 
at the woman, who once more shakes her head and 
points at ten. They give her their cards and withdraw. 
The housekeeper has evidently told them all that her 
mistress is out, but will be home at ten. 



TABLEAUX. 143 



Act II. — Dance. 

A little girl shall dance any fancy dance she may be 
familiar with. 



Act III.— Attendance. 

The mistress of the house has returned. She is 
handsomely dressed in out-door costume. Her servants 
flock about her. To one she hands her bonnet, to 
another her parasol, etc. One brings an easy-chair and 
footstool for her, and the housekeeper of Act I appears 
in attendance upon her and gives her the letter, the 
bill, and the cards which have been left for her. 



SECTION VII. 



SEARCHING FOR HAPPINESS. 

WITH some adaptation of dress and surroundings, this 
will prove a most beautiful and elevating perform- 
ance,befitting any character of promiscuous entertainment. 
The gifts should each be appropriate to the character and 
the whole scene enacted with the least possible confusion. 
The curtain rising, the principal character is seen in 
the center of the stage, in a sitting posture. Wealth 
appears and offers the fair searcher for happiness her 
treasures. These are examined, and after some time 
waved away. Then, Power with its crown, which is 
scrutinized, and after some hesitation returned to the 
giver. Next, Knowledge, with its ponderous torn es, which 
are examined and Knowledge dismissed. Fame, Painting 
and Music are successively rejected. Beauty approaches 
is embraced and reluctantly discarded. Love follows 
with its wings and bow and arrow. These are seized, the 
bow drawn, but soon dropped to the floor, and the former 
position resumed, while the bosom heaves, evincing the 
bitter pang the act has cost. Finally, Religion approaches 
with the Bible, pointing with the finger to a world above. 
This is accepted as the object of the search, the choice is 
acquiesced in, by the other actors who have remained in 
the background, when all come forward and join in 
chanting the Lord's Prayer. Kate Whittlesey. 

144 



TABLEAUX. 145 

CHRISTMAS EVE. 

. A PANTOMIME. 



Characters and Costumes.— Santa Claus, a large boy, with long, white hair 
and beard, round fur or paper cap, an enormous pack strapped upon his shoulders, 
from which protrude various toys. A light carriage-cloth may be wrapped about 
him. George and Fred — Two little boys, one quite small, dressed in short blouse 
and pantaloons in Scene I. In Scenes II, III and IV in long, colored dressing- 
gowns. Nellie — Small girl with short dress and apron in Scene I. In Scenes II, 
III and IV in long white night-robe. Father and Mother — Large boy an<i gin in 
•rdinary house dress, except the father, as Santa Claus in Scene III. 

Scene I. 

THE children come bounding in, they bow to the au* 
dience, glance at the clock, go to a small bureau, 
and opening a drawer extract three pairs of colored hose. 
They pin the tops together, and mounting chairs proceed 
to hang them carefully upon hooks prepared to receive 
them. Georgie points to the clock, expressing that it is 
nearly bed-time. Nellie claps her hands, and Fred 
jumps about and smiles his joy. Taking hold of hands 
they bow and go out. 

Scene II. 
The mother enters with the children, who are robed 
for sleep. Shv leads the two youngest, one by each 
hand. They pause, pointing to the stockings. The mo- 
ther smiles, and toys with Fred's curls. She leads them 
to the couch, over which blankets are spread, and kneels 
in front of couch, the children follow her example, with 
clasped hands and bowed heads. They remain in this 
attitude a short time, then rising, the mother proceeds to 
assist the two boys into bed, kisses them good-night, looks 
out of the window, then tucks the covering closer about 
them. She then leads Nellie to the crib, lifts her in, 



146 TABLEAUX. 

kisses her, arranges the chairs, closes the drawer .that the 
children left open, takes one more look at the boys and 
goes out. 

Scene III. 

Santa Claus comes creeping cautiously in, makes a 
profound bow to the audience, then peering at the occu- 
pants of couch and crib to be sure they are locked in 
the arms of Morpheus, he proceeds to fill the stockings. 
While he is thus engaged, the youngest boy (who should 
have piercing eyes) slowly raises his curly head from the 
pillow, and recognizing his father in the person of Santa 
Claus, places a finger significantly upon his nose, as 
much as to say, "You can't fool me!" Of course, 
his movements are unnoticed by Santa Claus, who fills 
the stockings to repletion, places sundry other large toys, 
such as a sled, wax doll, hobby, etc., under each respec- 
tive stocking, and laying a finger upon his lips, bows and 
goes out. 

Scene IV. 

The father and mother enter, and going up to the chil- 
dren, pantomime that they are asleep, and must not be 
disturbed. They sit. Children begin to show signs of 
waking. Fred leaps to the floor with a bound, rubbing 
his eyes, the others follow in rapid succession, and mount- 
ing chairs, wrench the stockings from the hooks, and scatter 
their contents over the floor. — (They should contain noth- 
ing that would injure by falling.) — Fred shakes his finger 
mischievously at his father, then rushes up and kisses 
him heartily. The children gather up the toys, which 
they drop again, and finally, with arms full, they all face 
the audience, bow and go out. — Jennie Joy. 



AN ALPHABETICAL LIST 

OP THE CONTENTS OF 

VARIOUS PUBLICATIONS. 



The Elocutionist's Annual 

Prepaid, each number, Paper Binding, 30c. ; Cloth, 50c. 



CONTENTS OF No. 1. 



Abraham Lincoln. 

After the Accident. 

Annie and Willie's Prayer. 

Betsey and I are Out. 

Blue and the Gray, The. 

Boys, The. 

Break, Break, Break. 

Bridge. 

Bugle Song. 

Bullum versus Boatum. 

Burial of Moses, The. 

Cat-Tails. 

Charcoal Man, The. [gade. 

Charge of the Light Bri- 

Child-Wife, The. 

Coming and Going. 

Creeds of the Bolls, The. 

Crossing the Carry. 

Death of Little Joe. 

Death of Little Nell. 

Dar Coming Man. 

Difficulty of Rhyming, The. 

Dving Christian, The. 

Empty Nest, The. 

Evening at the Farm. 

Experience with European 

Guides. 
Extract from the Last 

Speech of Root. Emmett. 
First Te Deura, The. 
Forty Years Ago. 
Growth of the American 

Republic. 



Hamlet's Instruction to the 

Players. 
Hamlet's Ghost. 
How Paul Won His Goat. 
Independence Bell. 
Ii-ish Schoolmaster, The. 
Isle of Long Ago, The. 
Jean Anderson, my Joy, 

Jean. 
John Maynard. 
Katie Lee and Willie Gray. 
Katydid. 

Launch of the Ship, The. 
Lullaby. [The. 

Memory of Washington, 
Modern Cain, The. 
Mrs. Caudle's Lecture. 
My Early Home. 
My Mule. 
Nathan's Case. 
Nix's Mate. 
Nobody's Child. 
Old Year and the New, 
:The. 

Old Yankee Farmer, The. 
Orator Puff. 
Othello's Apology. 
Our Folks. 
Over the Hill. 
Over the River. 
Palmerston and Lincoln. 
Papa Says So, Too. 



Parting Lovers, The. 
Patrick Dolin's Love-Letter, 
Pat's Excelsior. 
Pax Vobiscum. 
Piece of Bunting, A. 
Prodigal Son, The. 
Psalm XXIII. 
Psalm XXIV. 
Rainy Day, The. 
Relief of Lucknow, The. 
Revolutionary Rising, The, 
Scrooge and Marley. 
Smack in School, The. 
Song of the Winter Winds. 
Song Revels. 

Spartacus to the Gladiators. 
To a Christmas Pudding. 
To Whom shall we Give 

Thanks ? 
Tragedy, A. 
Uncle Pete's Counsel to the 

Newly Married. 
Waif A. 
Why 'He* Wouldn't Sell the 

Farm. 
William Tell. 
Will the New Year Come 

To-Night ? 
Woman's Rights. 
Your Mission. 
You Put no Flowers on my 

Papa's Grave. 



CONTENTS OF No. 2. 



Abigail Becker. 

Altruism. 

Andrew Jackson. 

Arnold Winkelried. 

Barn Window, The. 

Bells of Shandon, The. 

Bible Reading. 

Blacksmith's Story, The. 

Black Ranald. 

Buck Fanshaw's Funeral. 

Cassius against Cfesar. 

Cavalry Charge, The. 

Char-co-o-al. 

Charity. 

Christmas Carol, A. 

Darius Green and his Fly- 
ing Machine. 

Death of Eva. 

Demagogue, The. 

Diw's Flat, 1356. 

Dutchman's Speech at an 
Institute, A. 

Ea3t and the West One, 
The. 

Excelsior. 
Father in Heaven. 

First Appearance in Type. 

Gh-^ts. The. 
tto It Alone. 



God in History. 
Hamlet's Soliloquy. 
Hezekiah Bedott. 
High Tide; or, The Bride3 

of Enderby. 
How Mr. Coville Counted 

the Shingles. 
Isaiah XXXV. 
Johnny's Dpinion of Grand- 
mothers. 
Kentucky Philosophy. 
Liberty and Union. 
Lochinvar's Ride. 
Mark Twain and the Inter- 
viewer. 
Mav Queen — Conclusion, 

The. 
Miss Moloney on the Chi- 
nese Question. 
Minute Men of 75, The. 
Mr. Coville on Danbury. 
Month of Mars, The. 
Nature of True Eloquence, 

The. 
New Church Organ, The. 
New Year's Address. A. 
North American Indians. 
Old Man in the Model 
Church, The. 



Old and Blind. 

Old Clock on the Stairs, 

The. 
Only a Boy. 
Oratory and the Press. 
Over the Hill to the Poor, 

house. 
Polish Boy, The. 
Public Dishonesty. 
Puzzled Dutchman, The. 
Red Jacket, The. 
Robinson Crusoe. 
Romance of Nick Van 

Stann, The. 
Rum's Maniac. 
Schneider Sees Leah. 
Sixty -four and Sixty-five. 
Socrates Snooks. 
Soldier's Reprieve. The. 
Spanish Armada, The. 
Twenty-third Psalm, The. 
Washington as a Civilian. 
Where Shall the Baby's 

Dimple be ? 
Wolsey's Fall. 
Yarn of the Nancy Bel^ 

The. 
Young Scholar, The, 



"I have used the numbers of the Elocutionist's Annual for four years, 
and have found in them the best collection of standard pieces, both 
for my own reading and for the use of my pupils, that I have ever 
seen. »»— Prof J. M. Gillam, Instructor in Elocution in Illinois Wesleyan 
University, Bloomington, Illinois. 



CONTENTS OF No. 



Adoon the Lane. 

American Flag, The. 

Baby's First Tooth, The. 

Bardell and Pickwick. 

Baron's Last Banquet, The. 

Battle of Beal' an Duine. 

Blindness. 

Burning Ship, The. 

Charlie Machree. 

Christmas Hymn. 

Claudius and Cynthia. 

Closing Year, The. 

Cynic, The 

Despair is Never Quite De- 
spair. 

Dutchman's Serenade, The. 

Eagle's Rock. The. 

Evils of Ignorance, The. 

Famine, The. 

Female Gossip. 

Florentine Letter, A. 

From Exile. 

Gladiator, The. 

Goodness and Greatness of 
G»d. 

Good-Night, Papa. 



Haunted House, The. 

Hypochondriac, The. 

If I Should Die To-Night. 

Indian Chief to the "White 
Settler, The. 

Inquiry, The. 

Jack and Gill. 

Kit Carson's Ride. 

Kitchen Clock, The. 

Laughin' in Meetin.' 

Licensed to Sell ; or, Little 
Blossom. 

Lides to Bary Jade. 

Little Goldenhair. 

Lost and Found. 

Maud Muller. 

Monster Cannon, The. 

National Monument to 
"Washington. 

Negro Prayer. 

Ode on the Passions. 

Old Forsaken School-house, 
The. 

Painter of Seville, The. 

Parrhasius and the Cap- 
tive. 



CONTENTS OF No. 

A Man's a Man, for a* That„ \ Deacon Munroe's Story. 
Age. I Dead Church, The. 

Angels of Buena Vista, The. Declaration of Independ- 
Annuity, The. | ence. 

Appeal to the Sextant for Dora. 

Air, An. [Dot Lambs vot Mary Haf 

Aunt Kindly. Got. 

Baggage- Smasher, Ye. j Faith and Reason. 

Battle of Bunker's Hill, The ' Fire, The. 
Battle Hymn of the Repub- 1 Gambler's Wife, The. 

lie. i Ghost, The. 

Black Horse and his Rider, Grandmother's Story. 

The. I Great Beef Contract, The. 

Bridal Wine Cup, The (Di- How a Married Man Sews 



<>,logue). 

lJurning Prairie, The. 

Cause of Temperance, The. 

Centennial Oration. 

Christmas Sheaf, The. 

Clarence's Dream. 

Columbia's Centennial Par- 
ty (Dialogue). 

Columbia. 

Contentment. 

Curfew Must Not Ring To- 
Night. 



on a Button. 
Judge Pitman on Various 

Kinds of Weather. 
Kentucky Belle. 
Leap-Year Wooing, A. 
Love Your Neighbor as 

Yourself. 
Maiden's Last Farewell 

The. 
Mark Antony Scene (Dia> 

logue). 
Modest Wit, A 



Parting Hymn. 

Passing Away. 

Poor Little Jim. 

Power of Hahit, The. 

Promise, The. 

Pulpit Oratory. 

Reaching the Early Traitt. 

Reply to Mr. Corry. 

Reverie in Church. 

Rock of Ages. 

Senator's Dilemma, The. 

Seven Ages of Man. 

Signs and Omens. 

Song of Moses. 

Song of the Sea. 

Tell on his Native Hills. 

Three Fishers, The. 

Tom Sawyer's Love Affair. 

Trust in God. 

Two Glasses, The. 

Vagabonds, The. 

Waiting for the Children. 

Wax-Work. 

Welcome to Summer, A. 

Woman. 



Negro Prayer, A. 

No God. 

Ode to tbe Deity. 

Ode to Independence Hall. 

An. 
Ode to the Legislature. 
Our Own. 

Paul Revere's Ride. 
Quarrel of Squire Bull and 

his Son Jonathan, The. 
Rationalistic Chicken, The* 
Raven, The. 
Remember Now thy Gwir 

ator. 
Rest. 

Revelation XXII. 
Rienzi's Address. 
Rival Speakers, The (Dift- 

logue). 
Spirit of 76 (Tableau). 
Tommy Taft. 
Tribute to Washington. 
Union, The. 

What the Old Man Said. 
Yankee's Stratagem, Tftt 

(Dialogue). 



Prom the Transcript, Portland, Maine. 
' * These selections evince correct taste and furnish the amateza 
teader and the professional elocutionist with the widest ranjwi 
•f subjects for occasions on which matters of that kind may bQ 
needed." 



CONTENTS OF No. 


5. 


Ager, The. 


Good Reading. 


Over the Hills and Ifcg 


All that Glitters is not Gold 


Hans and Fritz. 


Away. : 
Parthenia (Dialogue). 


(Dialogue). 


He Giveth His Beloved 


Archie Dean. 


Sleep. 


Prisoner of Chillon, The. ' 


Bannock-Bare. 


Heroes of the Land of 


Prince Henry and Faletaf 


Betty Lee. 


Fenn. 


(Dialogue). 


Brave at Homft 1 ^he. 


How we Hunted a Mouse. 


Puritans, The. 


Bride of the Greek Isle, 


John and Tibbie's Dispute. 


Ready for a Kiss. 


Thfr 


Lahore est Orare. 


Regret. 


Brook, The. 


Last Hymn, The. 


Samantha Smith becooMf 


Budge's Version of the 


Leak in the Dyke, The. 


Josiah Allen's Wife. 


Flood. 


Listeners Hear no Good of 


Saracen Brothers (Dia- 


Catiline's Defiance. 


Themselves (Tableau). 


logue). 


Centennial Hymn. 


Lost and F^und, 


Schoolmaster's Guests, Tb% 


Comin' Thro' the Rye (Ta- 


Magdalena. or, The Span- 


Song of Birds. 


bleau). 


ish Duel. 


Swell's Soliloquy, Th« 


Competing Railroads, The 


Maiden Martyr, The. 


Southland. 


(Dialogue). 


Man Wants but Little Here 


Summer Friends. 


Corinthians, I, XV. 


Below. 


Swallowing a Fly. 


Course of Love too Smooth, 


Man's Ingratitude. 


To a Skull. 


Tne. 


Membranous Croup and the 


Tramp, Tramp, Tramp. 


Dedication of Gettysburg 


McWilliamses. 


True Contentment. 


Cemetery. 


Moral Effects of Intemper- 


Uncle Daniel's Introdno- 


Elder Mr. Weller's Senti- 


ance. 


tion to a Mississippi 


ments on Literary Com- 


Morning. 


Steamer. 


position. 


My Trundle-Bed. 


Vaudois Missionary, The, 


Fairy -Land. 


Old Ironsides. 


Where is Papa To-Night. 


Fashionable Singing. 


Once Upon a Time. 


Why Biddie and Pat Ma*» 


tflood of Years, The. 


Only a Baby. 


ried. 


CC 


)NTENTS OF No. 


6. 


Artemus "Ward's London 


Father Phil's Collection. 


Old Sergteawit, The. 


Lecture. 


From the Tragedy of King 


Oratory. 


Asleep at the Switch 


John (Dialogue). 


Organ Creations. 


Ave Maria. 


Fruits of Labor, The. 


Palmetto and the Pin# m Tha* 


Battle of Jvry, The. 


Getting Under Way. 


Professor Puzzled, Th* 


Bob- o '-link. 


Gradatim. 


(Dialogue). 


Bridge of Sighs, The. 


Green- Mountain Justice, 


Relentleos Tims. 


Brother Anderson's Sev- 


The. 


Satan and the Grog-seMee, 


moa. 


Hard Shave, A (Tableau). 


School "Called." 


Cane-Bottomed Chair, The. 


Hatchet Story. 


Song of the Crickets, Tbe. 


Children's Hour, The. 


Ho ! Every One that Thirst- 


Songs in the Night. 


Cool Reason (Dialogue). 


eth! 


St. John the Aged. 


I)agger Scene, The. 


Home Song. 


Thanatopsis. 


A)ay at Niagara, A. 


Jane Conquest. 


Thanksgiving, A* 


inserted House, The. 


Jennie M'Neal's Ride. 


To a Friend. 


Ik>ctor Marigold. 


Little Allie. 


Tom. 


Dukite Snake, The. 


Malibran and the Young 


Tribute to East TenneoMtt 


Easier Morning. 


Musician. 


A. 


ftdith Helps Things Along. 


Mary Stuart (Dialogue). 


Valley Forge. • 


Ike and the Serpent. 


My Country, 'tis of Thee. 


Washington (Tableaa). 


Attract from "The Last 


Nae Luck Aboot the House. 


Xekle. 


Days tf Hereilaneuin," 


Niagara, ( 





]Prof. Gteorge P. Beard, Principal South-western State Normal School, 
California, Pa., says: "The Elocutionist's Annual is largely use* 
by students of this school for choice selections for public recitation 
and class-reading. They are admirably adapted to the practi* 
<sal worlk of elocution." 



CONTENTS OF No. 7. 



American War, The. 

Auld Laug Syne. 

Jiooks. 

Builders, The. 

Care of God, The. 

Crescent and the Cross,The. 

Cuddle Doon. 

Daisy's Faith. 

Death of the Old Year, The. 

Death of Nelson, The. 

Death of the Old Squire, 
The. 

Early Christmas Morning. 

Fair Play for Women. 

Farmer's Life, The. 

Glove and the Lions, The. 

Gray Honors the Blue, The. 

Hamlet, Act II., Sceae 2 
(Dialogue). 

Hannah Binding Shoes. 

Henry the Fifth at Har- 
fleur. 

How Tom Sawyer White- 
washed his Fence. 



Leper, The. 

Light -house May. 

Lochiel's Warning (Dia- 
logue). 

Longing. 

Masters of the Situation. 

Master's Touch, The. 

Marco Bozzaris. 

Milking-Time. 

Mine Katrine. 

Model Discourse, A. 

Mont Blanc before Sunrise. 

My Minde to Me a King- 
dom Is. 

Night After Christmas, The. 

Night Before Christmas, 
The. 

Old Grimes. 

Old Robin. 

Our Minister's Sermon. 

Our Traveled Parson. 

Owl Critic, The. 

Parody, A. 

Paradise. 



Paul before King Agripp*. 
Reflections on WestminsUC 

Abbey. » 

Royal Princess, A. 
Saving Mission of Infancy 

The. 
Selling the Farm. 
Shakspearian Burlesque 

(Dialogue). 
Sheriff" Thorne. 
Ship of Faith, The. 
Sister and I. 
South Wind, The. 
Surly Tim's Trouble. 
Tableaux from Cotter's Sat* 

urday Night. 
That Hired Girl. 
Tired Mothers. 
Tom's Little Star. 
Village Blacksmith, Tfte, 
Voice in the Twilight, Tha. 
Woman's Rights (Dialogt»e> 
Wounded Soldier, The-* 



CONTENTS OF No. 8. 



After Death. 

American Specimen, An. 

Arrow and the Song, The. 

Bald-headed Man, The. 

Bay Billy 

Beecher on Eggs. 

Better in the Morning. 

Bessie Kendrick's Journey. 

Blue Sky Somewhere. 

Carl. 

Character of Washington, 

The. 
Child Musician, The. 
Christmas Carol, A. 
Conev Island Down der 

Pay. 
defence of Lucknow, The. 
Emigrant's Story, The. 
Enoch Arden. 
Everlasting Memorial, The. 
Fire- Bell's Story, The. 
First Quarrel The. 
Uran'ma Al'as Does. 
Harvesters, The (Tableau). 
Hei Letter. 



How Ruby Played. 

In the Garret. 

International Episode, An. 

King's Missive, 1661, The. 

Leap Year in the Village 
with One Gentleman (Di- 
alogue). 

Lesson, The. 

Little Feet. 

Monk in his Cell, A (Ta- 
bleau). 

Mrs. MacWilliams and the 
Lightning. 

Nations and Humanity. 

Nebuchadnezzar. 

"N" for Nannie and "B" 
for Ben. 

Nun at her Devotions, A 
(Tableau). 

Old Folks. 

Ophelia (Tableau). 

Order for a Picture, An. 

Over the Hill from the 
Poorhouse. 

.Peace in God. 



Philosophy of Laughter-. ' 
Practical Toun-g Woman. 

A. 
Psalm XC. 
Reckoning with the 014 

Year. 
Reply to Hayne. 
Rest. 

Rivals, The (Dialogue). 
Scene from Leah the F«r» 

saken. 
Setting a Hen. 
Sioux Chief's Daughter 

The. 
Slander. 

Song of Steam, The. 
Stage-Struck (Dialogue). 
Statue in Clay, The. 
Tale of the Yorkshire Co* M, 

A. 
Temperance Question, Th* 
There's No Rose Without! 

Thorn (Tableau). 
Undine (Tableau). 
Vaahti. 



•"This series is designed as a receptacle into which shall fall y«^ 
fy year the newest and best readings of the elocutionists of th« 
eountry. A few of the old standard pieces are always intermixed with 
tne newest, thus making the Elocutionist's Annual a compact an 4 
convenient manual and a thing of merit."— Intelligencer, Doylam 
town, Pa. 



CONTENTS OF No. 9, 



Aged Stranger, The. 

Awfully Lovely Philosophy. 

baby's Visitor. 

Baby's Kiss, The. 

Bertha in th& Lane. 

Births. Mrs. Meeks, of a 
Son. 

Brier Rose. 

Bumboat "Woman's Story, 
The. 

Child on the Judgment- 
Seat, The. 

Christmas Ballad, A.. 

Combat between Fitz- 
James and Roderick 
Dhu (Dialogue). 

Connor. 

Death of Minnehaha (Ta 
bleau). 

Fisherman's Wife, The. 

First Party, The. 

Gypsy Fortune-Teller (Ta- 
bleau). 

Samlet, Act III., Scene 4 
(Dialogue). 



Henry Fifth's Wooing (Dia- 
logue). 

Horatius. 

Ideal, The. 

I Was with Grant. 

Lady of Lyons, Scene from 
(Dialogue). 

Last Prayer of Mary, Queen 
of Scots. 

Lookout Mountain. 

Master Johnny's Next-Door 
Neighbor. 

Maud Muller (Tableau). 

Mine Vamily. 

Mrs. Walker's Betsy. 

Mrs. Ward's Visit to the 
Prince. 

National Ensign, The. 

Only. 

Palace o' the King, The. 

Paul at Athens. 

Potency of English Words. 

Pwize Spwing Poem. 

Queen Mary, Act V., Scene 
5 (Dialogue). 



River, The. 

Rover's Petition. 

Sailing of King Olaf, x *h* > 

Sam's Letter. 

School Begins To-day. 

Selling the Farm. 

Sometime. 

Song of the Camp, The. 

St. George and the Drag* 

on. 
Terpsichore in the Flu 

Creek Quarters. 
Then and Now. 
Thoughts for a New Year. 
Tribute to Washington. 
Truth of Truths, The. 
Unnoticed and Unhonor«|» 

Heroes. 
White Squall, The. 
Widow and Her Son, The, 
William Goetz. 
World, The. 
Words of Strength. 
Yorkshire Cobbler, The« 



CONTENTS OF No. lO. 



|re as Thorough as You Can. 

Balaklava. 

Blind Lamb, The. 

Caught in the Quicksand. 

Chimney's Melody, The. 

Chickamauga. 

Despair. 

Drifting. 

2>iek Johnson's Picture. 

Death of Roland, The. 

Dot Babj off Mine. 

Bulogy on CTarfield. 

Frenchman on Macbeth, 

A. 
Serve Kiel. 

Irrepressible Boy, The. 
Job XXVIII. 
Jamie. 

Law of Death, The. 
1/ttle Rocket's Christmas. 
J*rrie O'Dee. 
fttttle Dora's Soliloquy. 
Um Charge of Nej. 



Lost Found, The. 

Mick Tandy's Revenge. 

Macbeth and the Witches 
(Dialogue). 

Mother of the Grachii, The 
(Tableau). 

Nay, I'll Stay with the Lad. 

New England's Chevy- 
Chase. 

Old Year and the New, The. 

Phantom Ship, The. 

Quarrel between Sir Peter 
and Lady Teazle (Dia- 
logue). 

Rev. Gabe Tucker's Re- 
marks. 

Railway Matinee, A.. 

Rizpah. 

Reveries of a Bachelor (Ta- 
bleau"). 

Reminiscence of Exhibi- 
tion Day. 

Shriytng of Guinevere, The. 



[Schoolmaster Beaten, Tk%» 

I Sympathy. 

Sky, The. 

School Statistics. 

Scene from Damon aaf 
Pythias (Dialogue). 

Snow-Birds (Tableau). 

Tilghman's Ride. 

Theology in the Quarters, 

To the Susvivors of the Bat- 
tle of Bunker Hill. 

Till Death Us Join. 

Tammy's Prize. 

Tragedy, The. 

True Story of Little B«f 
Blue, The. 

Two Blind Beggars (Ta* 
bleau). 

Village Choir, The (Tia» 
bleau). 

Washington Hawkins DiSfll 
with Col. Se'lera, 

Wayside Ijld. The. 



9t, J. H. Luther, FresideDt Baylor College, Independence, lexas, say% 
*1 regard this series as the best published for this department of c&i 
lege study. The Annuals are specially valuable as sustaining tbj 
Interest of tne pupil and widening her knowledge of our 
authors." 



CONTENTS OF No. 



Apostrophe to the Ocean. 

J^rctic Aurora, An. 

Ballet Girl, The. 

&aboli»k, The. 

Catching the Colt. 

Child Martyr, The. 

Clown's Bahy, The. 

Convict's Soliloquy, the 
Night before Execution, 
The. 

*>eath of Little Paul Dom- 
bey. 

"Decoration Day. 

„ Dutchman's Snake, The. 

Echo and the Ferry. 

Execution of Queen Mary. 

Finished. 

Flash— the Fireman's Sto- 
ry. 

Foxes' Tails; or, Sandy Mac- 
donald's Signal, The. 

Freckled -faced Girl, The. 

Front Gate, The. 

Froward Duster, The. 

Garield at the WLeel. 

Grandmother's Apology, 
""he. 



Her Name. 

Jerry. 

Joan of Arc at the Stake 
(Tableau). 

Knowledge and Wisdom. 

Life's Loom. 

Lisping Lover, The. 

Little Boy's Valentine, A. 

Little Gottlieb's Christmas. 

Mice at Play. 

Model American Girl, The. 

Modern Facilities for Evan- 
gelizing the World. 

Mona's Waters. 

Naomi and Her Daughters- 
in-Law (Tableau). 

New Slate, The. 

Nicodemus Dodge. 

No Kiss. 

Old Year and the New, The. 

One Flower for Nelly. 

Parson's Fee ; or, The Bag 
of Beans, The (Tableau). 

Possible Consequences of a 
Comet Striking the Earth 
in the Pre-glacial Period. 

Prospeets of the Bepub.' iu. 



1*0. 



Aunty Dolefnl's Visit. 

Aux Italiens. 

Ballad of Cassandra Brown, 

The. 
Battle Flag at Shenandoah, 

The. 
Bell of Zanora, The. 
Bells, The. 

Bells Across the SnoW » 
Beyond the Mississippi. 
Bishop's Visit, The. 
Blind Poet's Wife, The. 
Book Can vasser, The. 
Brother's Tribute, A. 
Convention of Bealistic 

Headers. 
Country School, The. 
discontentment. 
Bude, The. 

Duelist's Victory, The. 
Earnest Views of Life. 
Easter-Tide Deliverance, 

A. D. 439. 
Xngineers Making Love, 

The. 
Vail of Pemberton Mill, 
„ Xne. 



CONTENTS OF 

Felon's Cell, A. 

Fly's Cogitations, A. 

God's Love to Man. 

Good-Bye. 

Grace of Fidelity, The. 

How Girls Study. 

How the Gospel came to 

Jim Oaks. 
Industry Necessary te the 

Attainment of Eloquence. 
Innocence. 

Interviewing Mrs. PraH. 
I would'na Gie a Copper 

Plack. 
Jesus, Lover of my Sou* 
Jimmy Brown's Steam 

Chair. 
Lasca. 
Legend of the Beautiful. 

The. 
Life's Story. 
Lincoln's Last Dream. 
Luther. 
Magic Buttons. 
Maister an' the Bairns, The. 
Malaria. 
Man's Mortality. 



11. 

Queen Vashti's J 

Bock Me to Sleep. 

Bomance of a Hammock. 

Shadow of Doom, The. 

Song of the Mystic 

Speeches of Zenobia an 
her Council in Befereno* 
to the Anticipated Wat 
with Home (Dialogue). 

Sunday Fishin'. 

Supposed Speech of Joh* 
Adams on the Declaration 
of Independence. 

Telephonic Conversation,* 

This Side and That. 

Thora. 

Ticket o' Leave. 

Trial of Fing Wing (Dia- 
logue). 

Tribute to Sir Walter Scot* 
A. 

Wedding of Shan Macle»», 
The. 

Where's Annette f 

Winter in th» Lap * 
Spring (Tableau). 

Wonders of Genealogy, Th* 

12. 

Mine Sehildbood. 

Newsboy's Debt, The. 

Old Book, That. 

Old Letter. 

Over the Orchard Fence. 

Pantomime, A. 

Poor- House Nan. 

Popular Science Catechisi* 

Power of the Tongue, Tha. 

Psalm Book in the Garret 

The. 
Beceiviag Calls. 
Santa Clans in the Mine* 
Serenade, The. 
She Cut his Hair. 
Skeleton's Story, The. 
Story of Chinese Love, A. 
Tarrytown Bomance, A. 
Teddy McGuire and Pachf? 

O'Flynn. 
Temperance. 
Ter'ble 'Sperience, A. 
Total Annihilation. 
Crying to be Literal 
Wave, The. 
Wendell Phillip* 
Yosemite. 



■The selections in the Elocutionists' Annum present a very pie*» 
fog variety In style and subject, and afi'ord a convenient little 
■oluine from which to inaKe selections tor readings and recitations."- -iNr 
*m$ton Hawkeye. 

CONTENTS OF No. 1£>. 

Abbess's Story, The. iJehoshaphat's Deliverance. ]Ov ly. 

.After- Dinner Speech by a|Lady Rohesia, The. [On the Stairway. 

frenchman. ( Landlord s Viait, The. iOui to Old Aunt Mary>. 

iacient Miner's Story /The.; Little Quaker Sinner, The.iOur Relatione to EnglaaA 
iristarchus Studies Elo-j Lead the Way. I Playful (Acting Charadfij} 

cution. Leg nd or the Organ- j Piny kg School. 

4* Last. Builder, The. .Public Spe&ch. 

4«nt Bet3y and Little Da-Let the Angels Eing thelRegulas to the Carthagifc 

ij (Dialogue," 
A.unt Polly's 

Washington." 
Fan ford's Burglar -Alarm. 
Better Things. 
Canada. 
Chase, The. 

Child's Dr^am of a S'ar, A. 
Chopper's Child, Tha 
Cloud, The. 
Devotion (Tableau). 
'Diana (Tableau). 
Ego et Echo. 
Elijah and the Prophets of 

Baal. 
Griffith Hammerton. A. 

humblest of the Earth - New Year ; or, Which Way 

Children, The. The. 



the 



Bells. 
George Literary Recreations. 
JLord Dundreary in 

CoHntry. 
Marit and I. 
Mary's Night Ride. 
Marry Me, 

Night. 
Memorial Day. 
Methodist Class Meeting.A 
Mine Shildren. 
Mother and Poet. 
Murder of Thomas a Beck- 

et (Dialogue). 
New Cure for Rheumatism, 



In ihe Signal-Box * a Sta-IOld Continentals, The. iZarafi. 

tion Master's Story. |01o Man Goes to Town,The.| 



jans. 
Rhymlet A. 

Smoke of Sacrifice, The. 
Song of the American Bft 

gle. 
Spring Poet, The. 
Darlint, To- 'Statuary (Tableaux). 

Tableaux from fchawath% 

with Reading*. 
Three Grace*. The <T». 

bleau). 
Tribute to LongfeJow . k» 
Two Stammerers, Th^. 
Union Forever, The (p* 

bleau). 
"Uncle Ben.** 
V-a-a-e, The- 
Yosemite, TbO, 



CONTENTS OF No. 14. 



4r« these God's Children ? 

/*rtiat> Dream, The (Tab 
leau) 

ballad ->x the Wicked Neph- 
ew. 

Battle of Morgarteu. 

Be a Woman. 

Bill and Joe. 

Brudder Yerkes's Sermon. 

£hild is Father to the Man, 
The. 

Child's Thought of God, A. 

Columbus before Ferdinand 
and Isabella (Tableau). 

Contrast, A. 

Cow and the Bishop, The. 

-Crazy Nell. 

Culprit, A. 



jfcaniel Gray. 



_av is Done, The. 
teath of Steerforth, The. 
teetiny of America. 
£ omestic Economy. 
Don't Be Mean, Boys. 
Doubting H-art, A. 
D'ummer Boy of Mission 

J<idge, The. 
Extract from a Eulogy on 

General Grant, 
fading of the Cross, The. 
Sefctysburg 
Uod's Anvil 
V*i&g toi the Cowa. 



Grade's Kitty. 

Great Issue, The. 

Head and the Heart, The. 

Her Laddie's Picture. 

Ho, Boat Ahoy! 

Incompatibility (Charade). 

Jimmy Brown's Sister s 
Wedding. 

June. 

Jupiter and Ten. 

King Harold's Speech to his 
Army before the Battle 
of Hastings. 

Lady Judith's Vision, The. 

Last Charge of Ney, The. 

Lifeboat, The. 

Light that is Felt, The. 

Military Supremacy Dan- 
gerous to Liberty. 

Miseries of War, The. 

Mither's Knee, A. 

Model Woman, The. 

Money Musk. 

Mother's Portrait, A. 

Mr. Winkle Puts on Skates. 

Nearer Home. 

Night- Watch, The. 

Old Homestead, The. 

Origin of Scandal, The. 

Orlando's Wooing (Dia- 
logue). 

Pleasant Acquaintance, A 
\ (Tableau;. 



Pockets. 

Psalm XCV. 

Puritan, The. 

Romance of the Rood-Lo^ 

A. 
Romajce of the Swan'sNet* 

The. 
School-Boy on Corns, A. 
Second Trial, A. 
Self-Culture. 
Ship of State, The. 
Sing a Song a Sixpence. 
Sister Agatha's Ghost. 
Smile and the Sigh, The. 
Soldier's Home, Washing* 

ton, The. 
Stolen Bird's Nest, Tfcfl 

(Tableau). 
Story Kathie Told, The. 
Sweetest Picture, The. 
Tear of Eepentance. A. 
Tender Heart, The. 
Thoughts for the New Y Am* 
Three" Leaves from a nofj 

Diary. 
To the'Desponding 
Twentv -Second of Febr<*' 

ary, The. 
Victor of Marengo, The- 
What we Did with the Cow 
Widow Cummiskey, Tn*. 
Woman's Power. 
Ulyssea. 



CONTENTS OF NUMBER 15. 



lmerioa. 

dnne Boleyn's Rejection 
of Henry VIII. 's First 
Gift (Tableau). 

Bachelors, The. 

Balaam's Parables. 

Eartholdi Statue, The. 

Beautiful Hands. 

Becalmed. 

Burial of the Old Flag. 

Brave Aunt Katy. 

Children, The. 

Childhood's Scenes. 

Christmas Guest, The. 

City of Is, The. 

Commerce. 

Concord Love Song, A. 

David's Lament for Absa- 
lom. 

Death of Jezebel, The. 

Der Oak und Der Vine. 

Discovering a Leak (Tab- 
leau). 

Doubtful Bank Note, The 
(Tableau). 

Fading Leaf, The. 

Fall In ! I860. 

Flag of the Rainbow. 

Golden Bridge, The. 

Grant's Place in History. 

Gray Champion, The. 



Guessing Nationalities. 

Heart's Resolve, The (Tab- 
leau). 

i. Church — During the 
Litany. 

In the Children's Hospital. 

Ireland To Be Ruled by 
Irishmen. 

Jem's Last Ride. 

King Arthur and Guine- 
vere. 

Kiss Deferred, The. 

La Tour D'Auvergne. 

Little Christel. 

Little Foxes. 

Little Maid with Lovers 
Twain. 

Lullaby Song. 

Manhood. 

Month of Apple Blossoms, 
The. 

Midsummer. 

Moral Courage. 

Mouse Trap, The (A 
Farce) 

Mr. Beecher And the 
Waifs. 

Mrs. Pickett's Missionary 
Box. 

Music in Camp. 

Niagara Falls. 



On Eloquence. 

Old Roundsman's Story. 

Our Choir. 

Our First Experience wit* 

a Watch Dog. 
/eople's Song of Peace. 
Perfectly, awfully, loveljf 

Story, A. 
Price of a Drink, The. 
Proof Positive. 
She Wanted to Hear £ 

Again. , 

Skipper Ben. [A«fc 

Speech Against the Stamp 
Squire's Bargain, The. 
Song for the Conquered, A. 
Story of an Apple, A. 
Strange Isxperience, A. 
Three King-*, The. 
Three Meetings. 
Tragedy on Past Parti, 

ciples, A. 
Two Dutiful Daughters (k 

Colloquy). 
Two Runaways, The* 
Vanity. 
Village Post Office, Th* 

(Tableau). 
Watch Night. 
What of That? 
World We Live In, The. 



CONTENTS OF No. 16. 



^Esthetic Craze, The. 

All Hollow. 

Angel and the Shepherds, 

The. 
Another Year. 
Appeal for Liberty, An. 
Baby in Church. 
Back from the War. 
Bad Prayers. 
Battle Hymn, The. 
Better than the Miser's 

Gold. 
"Calls." 

Chariot Race, The. 
Christening, The. 
Ctcely Croak. 
Curse to Labor, The. 
Day of Judgment, The. 
Death of Napoleon, The. 
J>ecoration Day. 
Elf Child, The. 
First View of the Heavens, 

The. 
fraudulent Party Outcries. 
Trom the Shore of Eternity. 
General Grant's English. 
Ginevra. 
•rant's Strategy. ^ 



House that was Just like its 

Neighbors, The. 
How the Celebrated Mil- 

tiades Peterkin Paul got 

the Better of Santa Claus. 
Invitation to the Zoological 

Gardens, An. 
Ivy Green, The. 
" I Wouldn't, Would You ?" 
"Jefful, The." 
Jimmy Hoy. 

Legend of the Earth, The. 
Lily Servosse's Ride. 
Lincoln. 
Lost Child, The. 
Medley, A. 

Message of the Dove, The. 
Miriam's Song. 
Mourner a la Mode, The. 
New South, The. 
Old Fireplace, The. 
Old Man and Jim, The. ' 
Old Story, The. 
Old Sweetheart of Mine, An. 
Pennsylvanian's Lament, 

The. 
Pin, A. 

Place of the Imagination^ 
8 



the Art of Expression, 
The. 

Portrait, The. 

Praying for Shoes. 

School Boys' Strike, The. 

Self-Life. 

Skipper's Love, The ; or, the 
Tide will Turn. 

Song of the Mountaineers. 

Stratford Fountain. 

Swan Song, The. 

Tell-Tale Heart, The. 

That Waltz of Von Weber. 

Thanksgiving In Bostoi 
Harbor, The. 

Topsey's First Lesson. 

Toussaint L'Ouverture. 

Two Pictures, The. 

Two Queens in Westmin- 
ster. 

Uncle, The. 

Wasted. 

Water Lily, The. 

Water and Rum. 

What She Said. 

While we May. 

Wisdom Dearly Purchased. 

Wonderful Country. The. 



CONTENTS OF No. 17. 



Alexander's Feast ; or, The 
Power of Music. 

Army of the Potomac. 

Army of the Potomac, The. 

Aunt Mellissy on Boys. 

Aunt Sylvia's First Lesson 
in Geography. 

Beautiful in Creation, The. 

Boat Race, The. 

Bonnie Wee Eric. 

Bravest Battle that Ever 
was Fought, The. 

Carcassonne. 

Colloquial Powers of Dr. 
Franklin. 

Courting and Science. 

Cumnor Hall. 

Dead Grenadier, The. 

Dead March, The. 

Dead on the Field of Honor. 

Death of Jefferson, The. 

Easter Morning. 

First Thanksgiving, The. 

Garfield Statue, The. 

Heavenly Guest, The. 

How we Fought the Fire. 

Ignorance a Crime in a Re- 
public. 

Inge % The Boy King. 



Jimmy Brown's Prompt 
Obedience. 

John Burns of Gettysburg. 

Knight and the Page, The. 

Labor. 

Labor. 

Land of Thus and So, The. 

Legend of Rabbi Ben Levi, 
The. 

Lexington. 

Little Match Girl, The. 

Lord Dundreary's Riddles. 

Lost. 

Love of Country. 

Low-Backed Car, The. 

Minuet, The. 

Miss Witchazel and Mr. 
Thistlepod. 

Monks' Magnificat, The. 

Mother-in-Law, The. 

Mr. Brown has His Hair Cut. 

My Wife is a Woman of 
Mind. 

Nurse Winnie Goes Shop- 
ping. 

One Niche the Highest. 

On the Ice. 

Our Flag. 

Fenn's Monument, 



Poor and the Rich, The. 
Ride of Collins Graves, The. 
Riding to the Tournament, 

The. 
Rome and Carthage. 
Rover in Church. 
Rustic Bridal, The : or, The 

Blind Girl of Castel Cuille 
Scientific Genesis, The. 
Sent Back by the Angels. 
Several Cats. 
Silver Plate, The. 
Single Head of Wheat, The. 
Starless Crown, The. 
Story of John Maynard. 
To Barbary Land. 
Took Nodice. 
Upward and Onward. 
Usual Way, The. 
Vane on the Spire, The. 
Victuals and Drink. 
Vow of Washington, The. 
Walpole's Attack on Pitt. 
What is a Minority ? 
What Men Have not Fought 

For. 
When I Mean to Marry. 
When I Was Young. 
Wild Night at Sea, A. 



CHOICE HUMOR. 

Prepaid, p«aper binding, 30 cts. : boards, 50 eta. 
"It Is % veiy Sne selection of articles from mu best authors. w*f 
would heartily recommend its perusal as a sure cure for a fit of the 
blues — ._ San 1 zisco, Cal. 



:. - 

& - - : u = 3 ; I : 
A.H and Xi:::e 

^: r : I I.'': 7:.rr. 

Sfe.i W-e:e Tic; 7-ri :: 

Be. 
Beating a Conduct : r. 

P ■ j i Story, The. 

Botr.11 . r 7 ■ z. The. 

sic 
Burdock's Music-Box. 
Burglar Alarm, The. 

C a . i : : 

Consolation Even on a 

.. 
Dauie. as' Ben. 

I e r I ■ : ; - r. i I r : 1 : : » ; e : 
Z : . r-i.r 7. :-:::, 
Duel between Mr. She 

_ i : I: V:::. 7ne 
I ; - red. 
Eiiioptomania. 
Ex: e. .e: . :; —.:"- 2 r.er'ri:- 

tory Cow. 
Farmer Stebbins on 

BaDca. 
I Lrafl Aa^entures in Eng- 

.2: 2. 
flood and the Ark, The, 
Fourth of July in Jones- 



T - 2 It f 

- irl : ■" : e Period, A. 

E 2 2 r ; 1 : - e , 

::-. i .- 

Her Lovers. 
Hi - . 

Hoffenstein's Bugle. 
E ■: :i -s: E e c ■■: : n . J.,-. 

7 - - ' It_ _t i :'..- 

E ~ E : 5 3 :. . _ . ^ _ : i 7- : : 
I Turned. 
Idyl of the Period, An. 

7 - .2-7-2 2.1 Et 

1 Jeataas] - 2.ir. 

.- 7 -: -: 
Laboi -. - - ~ - 

; Load on Hi* Mind, The. 

It--: . .. T - - A 
Love a*. : ic S - - - 

- . 2 J. :i Dispenser, 

rkc 

■ 

T>5 7..T 

Miss MinerT*'t Disappoint- 
ment. 
E -5 E.2U22 :2= Er~ 1:2- 

EE 2r 1 ^-i •': 2 7. 2r5. 

- r 7 t ; T : 
My Rival. 
- A. 

7 The- 

E:2r : 



7 t's Letter 

Personal. 

Parent with the Hncf, TiMfc 

- 

7 ■ ■ Z \Z "5. 72? 

7.7. :s :: 

2r~r2. 

Pointer's Dyspeptic Goat. 
Poet- Tree. 

7: - .- 

I. 22:: :: M77s. A. 

She Referred Kim to n\«r 

72 

E-2.7 ■: 7:-«r .2 

5cr-ok- 
ing. 
Timothy Doolan's WilL 
Times Revenge. 
7 ■_;-_ E::.« : - 7 Eri. 
Three Lovers, The, 

:' a SchoolmWiresa. 
Tom Sawyer Treated foe 

Lovesiekness. 
7.: : : r ... r.i. 

Umbrella on the Beach. 

7om sxd the Hor* 

7 ; i 7r2 2 25 7. 72. 

Victim of Cbi: 

Sang Abool 

i w rennet. 

•~ ; _ .. _ i 7E . A. 



CHOICE DIALOGUES 

FOR SCHOOL AND SOCIAL ENTKRTADOfKl 

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of the best tone and style ::r7 irom. coarseness and irreverence, ami 

yet sprightly and humorous. 
"• [Explanations are fully giren to facilitate the proper prefer. taooaV* 

/ 

Lunost a Mormon, 7 . 2 E 7 ^-. 7>:i': 2E:^ Eia. 

jl.'-> E ..; 7. .- 7-T..r .2 7 2. .:_:: 5 '"■=-. :z. 

Skoal 7r:oked Lane, Railway Matinee, Tba» 

7.;. 7.222-rS i 7:. 

Gods in Council, The. 5 e .2 2 r 7 _ e. 

Soing to the Dentist's. Signing the Pledge. 

Er,;.. : v - .-: of Liberty, Tba, 

Ere Adventure, Joe Fleming's ThanksgiT- Tea Famous Wooaaa. 

ing. Eiriei 

!»f»r a Priae. I Justice. Uacte Mortoa's Gift. 



^-Jourr^u ■:/ ZS^^ion, Boston, Mass, 
I Double Play. 

3-f. ?;.-.:.-. 72e. 
Bold for the I 
EE2*r 7 ; : :: 2 7 .75. 
Bridget's Divestment. 

L2222r_ E: 2Sr^2r. A. 



CHOICE DIALECT. 



FOR READING AND RECITATION. 200 PAGES. 

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Annie's Ticket. 
Apples, A Negro Lecture. 
Aunt Parson's Story. 
Aunt Sophronia Tabor At 

tne Opera. 
Be Content. 



Bevare of the Yidders. 
Biddy's Trials Among the 

Yankees. 
Biddy McGinnis at the 

Photographer's. 
Bonnie Sweet Jessie. 
Book Larnin'. 
Bravest of the Brave. 
Burglar Bill. 
Cabin Love Song. 
Coffee Mv Mother Used to 

Make, the. 
Cultured Daughter of a 

Plain Grocer, The. 
Dat Yaller Gown. 
De Preacher an' De Hants. 
Der Deutscher's Maxim. 
De Yaller Chinee. 
Diffidence. 
Dutchman's Testimony in 

a Steamboat Case, A*. 
Earthquake in Egypt, The. 
Engineer's Story, The. 
Evening Song on the Plan- 
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Examination in History, 

An. 
Fritz and I. 



Funeral. The. 

Gabe and the Irish Lady. 

Grandfather's Rose. 

Grandpa'.-* Courtship. 

He Guessed He'd Fight. 

How Pat Went Courting. 

Inasmuch. 

Inventor's Wife, The. 

Irish Coquetry. 

It's Vera Weel. 

Jimmie's Prayer. 

Kit ; or, Faithful Unto 
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Kyarlina Jim. 

Larry's On the Force. 

Light From Over the 
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Life's Game of Ball. 

Mary O'Connor, The Vol- 
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Mischievous- Daisy. 

Mother Doughnuts. 

Mr. Schmidt's Mistake. 

Music of the Past, The. 

Mutilated Currency Ques- 
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Neighbors. 

Old Woman's Love Story. 

•* Ole Marster's " Christ- 
mas. The. 

Over the Crossin'. 

Pat's Letter. 

Pine Town Debating So- 
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Praver. The. 
Sable Theology. 
Schneider's Tomatoes. 
Simon's Wife's Mother Lsf 

Sick of a Fever. 
Speak Nae 111. 
Street Gamin's Stcry d 

the Play. A. 
Teamster Jim. 
Text Without a Sermon, A' 
Thet Boy ov Ourn. 
Tim Murphy's Stew. 
Tommy's Twials. 
Tramp's Philosophy, A. 
Trapper's Last Trail. The. 
Tribulations ef Biddy Ma- 
lone, The. 
Uncle Gabe on Church 

Matters. 
Uncle Gabe at the Cora 

Shucking. 
Uncle Ned s Banio Song. 
Uncle Pete ana Mario 

George. 
Wake of Tim O'Hara, The. 
Wee. Wee Bairnie, The. 
Wet Weather Talk. 
When Greek Meets Greek, 
Why Ben Schneider De* 

cides for Prohibition. 
Widow O'Shane's Kint, 

The. 
Winnie's Welcome. 
Yours, Truly. 



CHILD'S OWN SPEAKER. 

100 PIECES. FOR CHILDREN 5 YEARS OF AGE. 
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Recitations. 

Almost a Man. 

Among the Animals* 

Bessie's Letter. 

Best of the Dollies. 

Best Reautv, The. 

Bird That Sings, The. 

Bite, The. 

Books. 

Boy's Opinion, A. 

Bunny Did It. 

Child's Evening Prayer, 

A. 
Cherry Time. 
Cold Water Boys. 
Corn. 

Daisy Time. 
Damaris Brown. 
Dandelion. 
Dickey Bird, The. 
Doll- Baby Show, The. 
Dolls' Wedding, The. 
Eddis Visits the Barber. 
Edna's Birthday. 
Elaie's Soliloquy. 
Frowns or Smiles. 
Good Company. 
Golden Rod. 
Grace and Dolly. 
Guest, The. 
Gunner and the Bird, 

The. 
Harry's Dog. 
Battle's Vi*>ws on House 

Cleaning. 
How Did it Happen? 
I Can't Army, The. 
Ml Try aud I Can't. 



In the Closet. 
Is it You ? 
Jack Grey. 
Kitty. 

Kitty and I. 
Kittv Didn't Mean To. 
Kitty's Wish. 
Little Patriot, The. 
Little Clock, The. 
Little Seamstress, The. 
Little Teacher, The. • 
Little Song, A. 
Long A 3,0 
Maud's Birthday. 
May's Flowers. 
Menagerie, The. 
Model Tea- Party, A. 
Mother's Children. 
Mr. Tongue. 
My Shadow. 
Naming the Baby. 
Nell's Letter. 
October's Party. 
Old Apple Tree, The. 
Opening Address. 
Our Flag. 

Out In the Meadow. 
Partnership. 
Praise of the Cat. 
Question. A. 

Queer Little House, The. 
Rosebud or Thorn. 
Secret, The. 
Senses, The. 
Summer Games. 
Sweetest Place, The. 
Temperance Bov, The. 
Ten True Friends. 
Those I Love. 
10 



To Kriss. 

Tommv's Army, 

Two Little Old Dames. 

Where They Grow. 

When I Am a Man. 

Who Was She ? 

Winter's Jewels. 

Winter. 

Work and Piay. 

Motion Recitations. 

Exercise Recitation, An. 
Farmer, The. 
Helping Mamma. 

Concert Pieces. 
Bunch of Flowers, A. 
Little Helpers. 
We Little Boys. 

Motion Sonars. 
Little Mothers, The. 
Dialogues. 

Bovsand Girls. 
Dead Bird, The. 
Dolls' Hospital, The. 

Tableaux. 
Dressed for the Party. 
Dolly's Doctor. 
Match Boy, The. 
Putting the Childrem t$ 

Bed. 
Raise the Gates. 
Sunshine or Shower. 
Tired Out. 
You Can't Find Me. 
Young Artist, The. 



LITTLE PEOPLE'S SPEAKER. 

For Children 10 years of age. 
Postpaid, paper binding, 15 cts. ; boards, 25 cts. 



Bob and the Bible. 

* Bob White." 

Boy's Pocket, A. 

Boy's Complaint, A. 

Boys' Rights. 

Burial of the Cat, The. 

Buy mv Dolls. 

Caw ! Caw ! Caw'. 

Chicken's Mistake, The. 

Child's Wonder, The. 

City or Country. 

Cross Betsy. 

Doll Rosy's Bath. 

Don't. 

Do Your Best. 

Edith's Secret. 

Kgg a Gbicken, An. 

Farmer Nick's Scarecrow. 

First Letter, The. 

For Decoration Day. 

Garfield at Chattauooga. 

Good-Night and Good- 
Morning. 

Grandma's Angel. 

Grumbler, The. 

Hands and Fingers. 

Harry's Arithmetic. 

H\» ~y's Lecture. 

Harry's Mistake. 

How Two Birdies Kept 
House in a Shoe. 

I Want Mamma. 

John's Pumpkin. 

Little French for a Little 
Girl, A. 

kittle One's Speech, The. 



Little Boy Who Ran Away 

Little Kitty. 

Little Orator, The. 

Little Things. 

Little Schoolma'am, A. 

Little Boy's Wonder, A. 

Little Boy's Speech, A. 

Little Girl's Hopes, A. 

Little Seamstress, A. 

Little Boy's First Recita- 
tion, A. 

Loving Little Girl, The. 

Mamma's Help. 

New Mittens, The. 

One Thing at a Time. 

"Old Speckle." 

Our Presidents. 

Poor Little Mother, A. 

Sad Case, A. 

Small Dressmaking. 

Speech for a Very Little 
Boy. 

Stagnant, The. 

Things That I Do Not Like 
To See. 

Two Little Bears. 

Valedictory. 

Watching; for Crumbs. 

What I Think. 

Willie's Speech. 

Won't and Will. 

Christmas Recitations. 

Christmas Bells. 
Christmas Morning. 
Christmas Time. 



Two Little Stockings, Thm 
Concert Recitations. 

American Flag, The. 

Choice of Trades. 

Going to School. 

Good -Bye. 

Human" Body Lessan tatf 

Rhyme. 
I Did It, Not, " I Done It." 1 , 
Iron — Silver— Gold. 
Kate's French Lesson. 
Little Foxes and Littlt 

Hunters. 
Only a Chicken. 
Order. 

Our Delight. 
Our Flag. 
Recitation for Three L\tAi» 

Girls. 
Song of the Waters. 

Motion Recitation*.* 

Playing Carpenter. 

This Way. 

'Tis Spring- Time. 

Temperance Recita* 
tions. 

Dragon, The. 

Little Drops. 

Little Girl's Declaration. 

Pitcher or Jug. 

Song of the Corn, The. 

Touch it Never. 

Why au4 Because. 



YOUNG FOLKS' RECITATIONS, 
No. 1. 

For Young People of 15 yeans of age. 

Postpaid, paper binding, 15 cts. : boards, 25 cts. 



American Flag, The. 
America's Obligations to 

England. 
Antony on the Death of 

Caesar. 
Baby's Soliloquy, 
battle Bunny — Malvern 

Hill. 
Be in Earnest. 
Being a Boy. 
Bird and the Baby, The. 
Blowing Bubbles. 
Boy's Complaint, The. 
Bovb Wanted. 
Boy and the Frog, The. 
Brave and True. 
Brutus on the Death of 

Ceesar. 
Child's Wisdom, A. 
Christmas Eve Adventure. 
Cobbler, The. 
Dignity in Labor. 
Do Right. 
Do Something. 
Do You Know How Many 

Stars .' 
FareweU of the Birds. 
Fathers of the Republic, 

The. 
February Twenty -Second, 
foolish HaroUtVL, The. 
fcood Deeds. 



Grand Scheme of Emi- 
gration. 

Grandpapa's Spectacles. 

Homesick. 

Homoeopathic Soup. 

Horse's Petition to His 
Driver, A. 

How Cyrus Laid the Cable. 

Indian Brave, The. 

Johnny the Stout. 

Johnny's Pocket. 

King and the Child. Th*. 

Knowing the Circum- 
stances. 

Lazy Daisy. 

Little by Little. 

Little Boy 's Lament, Tbe. 

Lines to K..ce. 

Little Boy's Troubles, A. 

Little Light, The. 

Lost Tommy. 

Loveliness. 

Moon and the Child, Tbe. 

Nature. 

Never Say Fail. 

Nobilitv of Labor, The. 

Notps from a Battle-Field. 

On Conquering America. 

Only a Baby Small. 

Peaceable Secession. 

Planking Himself to Grow. 

Real Elocution 



Return from B^tt'e, T)ie» 

Bin. 

Six O'clock P. M. 

Solium Fac', A. 

Somebody's Mother. 

Song of the States, A. 

Sour Grapes. 

Speak the Truth. 

Sparkling Bowl, The. 

Squirrel's Lesson, Tfce. 

Stolen Custard, The. 

Success in Life. 

Suppose. 

Sweet Peas. 

Three Good Doctors. 

Three Little Mushro«»n». 

That Calf. 

Tribute to Water, A. 

Two Roads, The. 

Two Commands, The. 

Way to Do It, The. 

War Inevitable. 

What the. Winds Bring. 

What the Minutes Say. 

What's the Matter ? 

When the Frost is on the 

Pun kin. 
Where Did You Co»i 

From, Babv? 
We Must All* Scratch. 
Willie's Breeches. 
Work, 



YOUNG FOLKS' RECITATIONS, 
No. 2. 

For young people of 15 years. 
Paper binding, 15 cts. ; boards, 25 cts. 



Advice to & Young Man. 

Angelic Song, The. 

Apple Seed, The. 

Artie's "Amen." 

Big Shoe, The. 

Christmas Acrostic. 

Christmas. 

Christmas Goose, The. 

Citv Sportsman, The. 

Contentment. 

Country Thanksgiving, A. 

Daisies. 

Dressed Turkey, The. 

Drinking a Farm. 

Fall Fashions. 

Falling Snow, The. 

Fate of Sin Foo, The; or 

the Origin of the Tea 

Plant. 
First Christmas-Tree in 

New England. 
Fourth of July Recerd, A. 



George "Washington. 

Gossips, The. 

Grandfather's Barn. 

Hilda Spinning. 

His First and Last Drink. 

How the Question Came 
Home. 

In Santa Claus Land. 

John White's Thanksgiv- 
ing. 

Judge Brown's Watermelon 
Story. 

Katrina. 

Kriss Kringle's Visit. 

List of Our Presidents, A. 

Milly. 

Mr. Nobody. 

Mrs. June's Prospectus. 

Mrs. Piper. 

Months, The 

Nativity, The. 

New Year's Talk, A. 



Old Winter, Esquire. 

Once-on-a-Time. 

Our First Thanksgirte 

Day. 
Our Heroes. 
Pardon Complete. 
Playing Drunkard. 
Rhyme of the Year, A. 
Saint Nick. 
Singing Joseph. 
Thanksgiving Story, A. 
Three Kings, The. 
Two Bills, The. 
Two Pilgrims. 
Under the Holly Bough. 
What Bessie Saw. 
What Became of a Lie. 
Where They Never Feel the 

Cold. 
Whistler, The. 
Woman's Curiosity. 
Wonderful Weaver, The. 



LITTLE PEOPLE'S DIALOGUES. 

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PART FIRST. 

Almost a Runaway. 
Blue Eyes and Brown Eye*. 
Four Celebrated Characters. 
How Long Before the Snow 

Comes ? 
Like an Indian. 
Morning Chat, A. 
Not Quite a Bargain. 
Playing " Grown Up." 
Hoyal Tarts, The. 
3oene from Mother Goose. 
Search for the Fairies, A. 
Some Very Famous People. 
Three Little Mothers. 
Time and the Seasons. 
Twenty-six of Them. 
t>-y Kind* of Fun, 



What O'clock ? 
Wreath of Flowers, A. 
PART SECOND. 

Four Winds, The. 
Gifts for All. 
Inquisitive Prince, The. 
King Roughbeard and the 

Princess. 
Only Cooning. 
Record of the Hours, The. 
Some "Arabian Nights'" 

People. 

PART THIRD. 

Christmas — 

At Christmas Time. 
Watching for Santa 
Claus. 

12 



What is Christmas ? 
Fourth of July- 
Brother Jonathan'^ 

Birthday. 
Two way3 of Spending 
"The Fourth." 
Thanksgiving Day — 
Being Thankful. 
Perfect Feast, A. 
Washington's Birthday- 
Breaking the Colt. 
Keeping the Birthday. 
Miscellaneous- 
Crowning the May 

Queen. 
First Week of School, 

The. 
Last Day of School, Th» 



YOUNG FOLKS' DIALOGUES. 

Designed for Children from 10 to 15 years of age. 
Prepaid, paper binding, 25 cts. ; boards, 40 cts. 

"Without exception, this is the best book of the kind."— Register 
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Actions Speak Louder than 
Words. 

Auntie Dimple. 

Bird's Funeral, The. 

Sunch of Flowers, A. 

Choosing Vocations. 

Christmas Dialogue, A. 

Counting the Chickens Be- 
fore They Were Hatched. 

Cousin Bell's Visit. 

Curiosity, The. 

Doll Show, The. 

Fanny's Seeret. 

Fir* of April. 



Good Way to Play u Joke, 

A. 
Gretchen. 
Guess What's in my 

Pocket. 
How the Story Grew. 
Keeping House. 
henna's Dream. 
Little Helpers. 
Lost Child, The. 
Lost Knife, The. 
Military Discipline. 
Peacemaker, The. 
Playing School. 



Ptace for Everything, *n4 
Everything in Its Plac* 
Preparing for a Picnic. 
Rainbow, The. 
Rehearsal, The. 
Rule Golden, The. 
Sick Doll, The. 
S. P. C. A., The. 
Through Children's Eyea 
True Charity. 
United Workmen, The. 
Wax Figures, The. 
Wishes, The. 
Youthful Dissipation. 



XOUNG FOLKS' ENTERTAINMENTS 

Designed for Children from 5 to 15 years of age. 
Prepaid, paper binding, 25 cts. ; boards, 40 cts. 

" It is one of the very best books for entertainment purposes that w* 
have seen." -Popular Educator, Boston, Mass. 



Acting Charades. 

Breakfast. 

Idolize. 

Keystone. 

Package. 

Pious. 

Charades in I^into- 
mime. 

Bandage. 

Parent. 

Phantom. 

Rainbow. 

Waylaid. 

Concert Recitations. 

Farm Boy's Song, The. 
^Kittens, The. 
♦Our Flag. 
*>ur Work, 
proverbs. 

Diaiogpies. 

Aunt Kitty's Shopping. 

How the Quarrel Began. 

Illustrated Story, An. 

Masquerading. 

Playing Store. 

ftior Work Don't Pay. 

fcaro's Practical Joke. 



Unjust Suspicion. 
Visitors from Story Land. 

Drills. 
Japanese Fan Drill. 
Simple March, A. 
Tambourine Drill. 

Motion Recitations in 
Concert. 

In the Morning. 
Little Housekeepers. 
Looking Ahead. 
We are Four. 

Motion Songs. 

Good Advice. 
Old Time Plays. 
Rainy Day, The. 
Snow Brigade, The. 
Reading's and Recita- 
tions. 
Baby's Drawer. 
Be Polite- 
Catch the Sunshine. 
Christmas Bells. 
Compositicn on Animals. 
Little Snepeh, A. 
Lost Kitty, The. 
Moving. 



My Best Friend. 

My Dog. 

Ned's Best Friend. 

New Toy, The. 

Opening Address. 

Phil's Complaint. 

Samtnie— Sallie. 

Sixty Years Ago. 

Troublesome Visitor, A- 

What They Said. 

IfVho Made the Speech. 

Shadows. 
Scenes. 

Tableaux. 
After the Explosion. 
Before the Explosion, 
Counterfeit Money. 
Evening Prayer. 
Free Smoke, A. 
Going to the Train. 
Grandma's School Day»- 
He Loves Me; He Lt?«t 

Me Not. 
I Wonder Who It Is Fr*m 
Old Time Lovers. 
On the Train. 
Playing Doctor. 
Playing Grandma. 
Too Hot. 





0272J9J950 



THE METHODS OF INSTRUCTION 
now employed in 

yrje lyafi0r)eti fe)cr)00l 

OF 

Bl0Cilfi0i) erryd Wpafopy 

are new and are unequalled anywhere. Extem- 
poraneous Speech, Public Speaking of all kinds, 
besides Reading, Recitation, Dramatic Expr s- 
sion, and Written Composition are taught accord- 
ing to true pedagogic principles. Unnatural- 
ness is impossible from our teaching. The 
departments are Voice Culture, Defects of 
Speech, Articulation, Gesture, ^Esthetic Gymn is- 
tics, Shakespeare, Methods of Teaching, and the 
i.ew department of Thought-Conception. Send 
for Catalogue, giving more definite information. 
Silas S, Neff, O. B., Principal, 1124 Arch Street, 
Philadelphia. 



